Seek Art

English: seek truth from facts

English: seek truth from facts (Photo credit: Wikipedia)

Seek Art, a Beta site for what I refer to as high-end art, produced the RAZE site-specific exhibition in Beijing featuring a range of media, including sculpture, installations, sound, and street actions with QR-Codes appearing as part of the exhibition pointing to a media based project online.

For RAZE, the artist Zhang Ding served placebo ecstasy-shaped cakes to the viewing audience during his performance, inviting them to consume and altering their states of mind or experience through participation. The artist then took portraits of viewers.

Seek Art then produced a limited edition DVD of the RAZE exhibition, available in their /Lab.

The Seek Art shop offers limited-edition art objects created by  artists and produced by their /lab.

The network of international artists range in medium and practice.  Michele Thursz, Founder and Artistic Director, is an independent cultural producer and consultant based in New York City. From 1999-2009, Thursz co-founded and directed Moving Image Gallery [MIG], NYC, one of the first galleries to show contemporary artists using electronic and computer-based mediums. You will find her contact information on the Seek Art site.

Video: Director of the Los Angeles Center for Digital Art talks about Benefits to Artists Who Submit to Open Calls

Video: Los Angeles Center for Digital Art Director talks on how he finds jurors for juried competitions, what they look for in digital art submissions, the selection process, how to draw attention to yourself as an artist, the benefits of submitting to open calls, and much more. It’s well worth your time to watch this 23 minute video to the end–

Sound Art Open Call For Submissions: Visible Near Midnight Recordings

Soundfjord | Call For Submissions | Visible Near Midnight RecordingVisible Near Midnight Recordings | Spring Open Call

SoundFjord’s Visible Near Midnight Recordings is looking to put out new works of sound art and genre bending works. The result, strictly limited edition, hand-made artefacts.

Drop them a line if you’d like to be considered, or if you have a specific work you’d like them to listen to (original/unreleased pieces please):

Further information about the label:

Deadline: 21 June 2013 | 23:59

C o n t e m p o r a r y   S o n i c   A r t   A r c h i v e   ( C S A A )

SoundFjord is about to embark on its largest project to date, to collect and archive works of sonic art from the length and breadth of the country (UK) as well as sending out feelers abroad– to collect and preserve  a comprehensive archive of sonic art works and documentary evidence through photography, film, sound files, analogue and digital formats, writings, letters, emails and so forth. The archive will also serve as to document the gallery’s past exhibitions


SoundFjord is constantly on the look out for new items to add to their collection. Should you have work you wish the gallery to consider please let SoundFjord know. They are happy to consider, photography, video, books, leaflets, letters, writings, tapes, CDs, DVDs, digital sound files and so forth.
The archive when suitably collected, stored, categorised and annotated will be available for viewing to artists, researchers and the interested general public at no cost. Unfortunately, items from the archive may not be removed; all items will be made available for reference purposes only. Please contact the curator should you wish to submit work to the archive: helen[at]soundfjord[dot]org[dot]uk N.B. Do not send items to the gallery before sending prior information
O p e n   C a l l   2 0 1 3

SoundFjord is looking for performers to take part in SoundFjord.Dynamic, the live initiative of the gallery’s Exhibition and Events Programme. They are particularly interested in works of an experimental and research-based bias; those that inquire into language within sonic art practice; works researching acoustic ecology; and works exploring minimal sound.

Please state your interest by emailing your contact details along with your performance CV to:

O p e n   C a l l   2 0 13

SoundFjord is currently seeking sonic artists and performers to exhibit at SoundFjord in 2013/14. Please contact the gallery for information and an application form regarding new works you would like them to consider: info[at]soundfjord[dot]org[dot]uk

They are particularly interested in works of an experimental and research-based bias; those that inquire into language within sonic art practice; works researching acoustic ecology; and works exploring minimal sound.


Call For Submissions For Supernova Performance Art Festival

The SUPERNOVA Performance Art Festival is a Rosslyn Arts Project presented by the Rosslyn Business Improvement District (BID) and produced by The Pink Line Project. SUPERNOVA will début June 6­‐9, 2013, throughout Rosslyn, Virginia, in raw spaces, office lobbies, rooftops, parks, the Metro station, and other public places. SUPERNOVA will bring together emerging and established local, regional, national and international performance artists to present an expansive range of positions and approaches to performance art. A unique showcase of energetic artistic activity and action, SUPERNOVA is poised to establish Rosslyn as a preeminent territory for contemporary art experience.

SUPERNOVA is now accepting submissions for this performance art festival! Deadline: Fri Mar 15th, 2013

Multi­‐site, multi‐day, transdisciplinary, anti‐conventional, SUPERNOVA will include and not be limited to: performance art, live art, body art, relational art, action art, happenings, actions, interventions, works­‐as­‐yet­‐undefined, and those never­‐to­‐be defined. Or whatever you want, or refuse, to call it. Selected artists will receive a $250 honorarium, with the opportunity to apply for more funding. Limited housing and accommodations will be available, but not guaranteed. Artists are encouraged to seek individual funding for SUPERNOVA. Letters of acceptance and any supplementary materials will be provided to selected artists.

The deadline to submit entries is 5 p.m., March 15, 2013, and all decisions will be finalized by 9 a.m., April 5, 2013. Applicants are encouraged to take inspiration from the modern public parks, diversity of architecture, proximity to Washington, D.C., and lively corporate environment that makes Rosslyn so unique.

All submissions and inquiries can be sent to Eames Armstrong, chief curator at

Submissions should be formatted as a single PDF document, which includes:
• Bio and artist statement
• Title, description and duration of proposed piece(s) for SUPERNOVA
• Five .jpeg images with corresponding image script
• Link to artist’s website and online video.
• Resume/CV

In the words of performance artist Guillermo Gómez-­‐Peña, “Our job may be to open up a temporary utopian/dystopian space, a de-­‐militarized zone in which meaningful ‘radical’ behavior and progressive thought are hopefully allowed to take place, even if only for the duration of the piece. In this imaginary zone, both artist and audience members are given permission to assume multiple and ever changing positionalities and identities. In this border zone, the distance between ‘us’ and ‘them,’ self and other, art and life, becomes blurry and unspecific.” (from In Defense of Performance Art)

MutantSpace: Submit Your Art + Skills Exchange Bank

Screen Shot 2013-03-13 at 3.08.39 PM
Mutant Space is one of those sites that really understands how to put online sharing tools to use in meaningful ways. They started their skills exchange project back in 2008 with a simple premise– to give artists opportunities to work with a co-operative of people from all over the world who believe in sharing their skills and resources to make things happen.
So how does the MUTANTSPACE Skills Exchange Bank work?
  • You sign-up
  • Put your skills into the MutantSpace bank
  • Then when you need a creative, production, management, or marketing skill to realise your arts project or event you go into the bank and take what you need.
  • You give what you can and take what you want. Everybody co – operates, everybody helps each other, everybody keeps the door open to endless possibility.

Then to put it all into practice, Mutantspace started a DIY arts festival. The festival, called The Trash Culture Revue, is held twice a year in Cork City, Ireland and is produced with no money! In keeping with this “creative economy” the entire festive operates on the skills of the members of exchange bank. Since kicking-off the first festival in 2009 they’ve produced well over 100 events. Mutant Space says, “What’s best about this festival is that it’s autonomous, it belongs to the members of this exchange. It answers to nobody. And it works. Above all it’s alot of fun.” In an email I received from Moray of Mutant Space, the next Trash Culture Revue is Friday 22nd March. Moray says that there’s been a lot of interest, so the sooner you get in contact with him the better if you want to participate. (E:  Then the next revue will take place from May 16th- May 19th, 2013. Get involved now.

The Mutant Space arts blog posts art images four times a day of art from around the world. They love receiving submissions of painting, sculpture, street art, photography, design and illustration/ painting, performance, print, graffiti, murals, installation, exhibitions, photography, collage, and drawing as well as music, video, animation, film and collaborations between different art forms. They love anything on food, theatre, literature and poetry as well as essays, short stories, criticism, politics and activism and also do profiles on art collectives, co-operatives and festivals.

A segment of a social network

A segment of a social network (Photo credit: Wikipedia)

Welcome to 4art!


ArtReview is delighted to announce the launch of its new and improved social network site

A platform designed solely for and with its members in mind,  acts simultaneously as a professional resource, project facilitator and creative talent scout. 4art features editorial content in the form of industry listings, interactive art projects and competitions, and a regular featured showcase of four selected artists.

We wish to take this moment to encourage you to participate in the ongoing development and production of the site. We look forward to your suggestions, your participation in our projects and your overall involvement in working with us to create a truly vibrant and useful artists’ network.

Warm Regards,

ArtReview 4art



Two Calls For Interactive Art

Sloane Studio Call For Video & Interactive Artists
SLOANE STUDIO a new gallery space within a space inhabits just over 700sq/ft of oneSan Francisco’s elite boutique nightclubs and première venues.

has the space, all they need now, is your unlimited creativity.

An exploration into the world of video technology and installation art,

SLOANE STUDIO invites guests and curious seekers to view and experience the visual

narratives of local artists through innovative new mediums.

SLOANE STUDIO facilitates ‘movement’ between SLOANE’s front and main rooms and

features 16 ft. walls — a pristine blank canvas for your work.

They are requesting calls for artists working in video and or interactive art by

emerging and/or student artists.

Projectors are already on hand, all they need is your work.

Welcome video and interactive artists in all stages of their career to submit work.

Submit images, plans or links for review at:


Deadline: Sun Oct 7th, 2012


1525 Mission Street

San Francisco, California 94102

United States of America

Engage: Detroit Interactive Art Exhibition

For a full prospectus, please visit:

Detroit Interactive Art Exhibition

October 5 – 27, 2012

Reception: Saturday, October 6, 2012 – 7-10pm

Whitdel Arts is seeking artists to participate in its first Detroit Interactive Art Exhibition.

This exhibition will feature a variety of interactive art in all media that allows the participant

to engage with the artwork to create a unique experience while allowing the art to achieve its objective.

They are seeking artwork that entices viewers to participate in the artwork by providing an input or

by becoming the input in order for the artwork to achieve its objective–work in any medium that allows

the participant to “walk” in, on, and around the piece. Other interaction may involve gesture talking, touching,

and biometric (face, finger print, voice recognition) input to allow the participant to become part of the artwork.

Work of all media is welcome, with interactive aspects that can be digital and/or analog methods.

Questions and inquiries can be sent to JenClare Gawaran (

or Gualberto Orozco (


Deadline: Tue Aug 7th, 2012

Whitdel Arts

1250 Hubbard St., Suite B1

Detroit, Michigan 48209

Call for Digital Artists

Vilcek Foundation Lost program

Vilcek Foundation Lost program (Photo credit: gluetree)

Hyperallergic has this opportunity posted to their blog:

The Vilcek Foundation has announced its second annual open call for computer and new-media art.

Interested artists can submit online — no application fee! — for a chance to win an exhibition on the foundation’s digital art space, the dARTboard, in early 2013, and $5,000.

Submit to the Art Billboard Project

Digital is crap

Image by jovike via Flickr

Harriete Estel Berman’s current post on her ASK Harriete blog  links to The Art Billboard Project.

“Submitting your work takes time,”Harriete explained, “as the images must be a specific size for each city, and there is a prescribed order. But there is no entry fee.” Then Harriete added,”I selected images that would fit well in the format requested. Each city has different requirements, dimensions, and deadlines. Read the PDF (on the Art Billboard Project site) super carefully! You have to resize your images to fit the Billboard dimensions, and it takes time to label your images properly. Your fabulous images could be a billboard.  I think this is a fabulous idea!

Great information and great advice. Thank you, Harriete!

The Billboard Art Project is a nonprofit organization that repurposes digital advertising billboards turning them into roadside art galleries.

Projects are held in cities all over the country and are open to all individuals and groups who are interested in participating.

Billboard Project in Duluth:

Call to Artists, Curator: Lucy Hunter

Dear Artists–I am posting this early call for an exhibition under development. If you have an questions please email Lucy Hunter. Best wishes, Marie Kazalia

Lucy Hunter
New York,


There is no adequate term in our lexicon to describe recent changes to what, traditionally, qualified “presence.” Being “somewhere” is no longer contingent on material existence in a specific place and time. Until recently, society was organized around physical structures and territories—now, architecture applies to a walled city as much as to the code that determines one’s whereabouts online. The 1970s mantra, “Be here now” is moot. But what are the ontological implications when site and temporality are collapsed, of being many-wheres at many-times?

Materiality, volume, space—the contention points surrounding contemporary notions of presence are inherent to artistic production. Discourse over the past century anticipates the conflicts relevant to the digital age; from concern with the antagonism between flatness and three-dimensionality, to rethinking exhibition spaces as an overdetermining site for work. Media advances, be it the Daguerrotype or the “social network,” provoke crises to authenticity, authorship, and reproduction. The principles of reception, too, are bound up in expectations of physical proximity between spectator and art: audiences “go” to galleries to interact with a “gathered” arrangement of works. I use quotes to show the failure of those terms to describe the display of art in online formats and the ease of accessing new media works in their original—but by no means irreplicable—form. Artists have confronted rapid change brought on by the Internet for years, change that bears repercussions on visual practice as much as social life at large. Artists have an advantage in current sociological dialogue, and my goal is to provide a forum that draws attention to their perspectives.

Exhibits in this series aim to expose the opportunities and limitations inherent to concurrent yet opposed modes of presence. Shows will be organized by topics that bring to light the contradictions and limitations between physical reality and the Internet. Venues are selected in response to that theme as well, to heighten/bring awareness to each discussion. The goal is not to delineate distinct boundaries between old versus new, this versus that, but rather to articulate the disintegration of tenets which, as recently as 20 years ago, were unambiguous. This exhibit aims to examine the paradoxes of location when boundaries between real-space and non-space have become fluid, and when individuals exist simultaneously in both.


TRACKING. A person’s location has less to do with physical signifiers than the streams of data by which existence is registered. Cell-phone GPS, credit card swipes, and IP addresses constitute an accurate record of a person’s daily life. This exhibit calls for work that explores the impact of such data on physical integrity, and the state of compromised privacy into which a contemporary citizen must enter. How can artistic practice subvert these apparently threatening information systems, or, in equal measure, capitalize on their possibilities? Looking for work in all media that demonstrates resistance or complicity with the overwhelming capabilities of information technology. Show to take place in April or May of 2012. Limited funds allotted for exhibition costs. Venue space TBA, in Manhattan/Brooklyn area.

TRESPASS. From basic identity theft to Wiki Leaks, violations of territory have less to do with a transgression of material boundaries than a breach of firewalls. Security no longer aims to prevent intruders “out there” from entering “in here;” rather, the threat is often unseen, if it exists in one place at all. Call for art that deals with trespass and private space, particularly the tension between divergent physical and Internet-based manifestations. Possible online-only exhibit; call primarily for digital media. Limited funds allotted for exhibition costs.

non-lucrative artworks

Why I create ephemeral, non-lucrative artworks

by Marcy B. Freedman

I have been an artist for a long time.  Paintings, collages, photographs and small sculptures fill my home and my studio.  Examples of my work have been shown in more than 250 exhibitions around the country, and many pieces are now included in private and corporate collections.  All in all, it has been a gratifying experience to create each and every one of these artworks.

However, during the last decade or so, my attention has been pulled in other directions.  Video and performance art have become my preferred forms of expression.  And within the realm of performance art, I have begun to narrow my focus: I now work almost exclusively on performances that allow me to engage with members of the public in one-on-one, face-to-face encounters.  Why have I become so involved with this ephemeral, non-lucrative form of interactive art?  I shall provide a few answers.

First of all, I should explain that I have never made art for the sake of selling it.  This is not to say that I am not pleased when someone wants to buy something that I have created.  On the contrary, it is very satisfying to think of my art in the care of someone who will, hopefully, be enriched by its presence.  However, I have never been able to create something with a future “consumer” in mind.  As corny as it may sound, I make the art that I am driven to make – driven by some inner compulsion to express something.  I never worry about the marketability of my creations.
Secondly, I don’t want to make artworks that I already know how to make.  I want to go into unknown territory each time I undertake a project.  (Indeed, one of my earliest solo shows was entitled, “No map.  No compass. No problem!”)  Consequently, staging performances that involve members of the public is perfect for me:  I never know what to expect, as each encounter is different from all other encounters.

Finally, there is an aspect of contemporary life that has inspired and perpetuated my interest in creating artworks that involve person-to-person interactions.  Specifically, I want to take a stand against indirect forms of communication – texting, email, social networks, etc.  These electronic mediums are flawed, because the communicating parties cannot see and hear one another.  This means that useful signals, such as body language and vocal intonations are absent from the encounter.  Not only does such a situation pave the way for misunderstanding, it diminishes the interaction:  the energy, the force, the spark that passes between live human beings is missing.  Consequently, I want to use my art to promote an old-fashioned form of communication: meeting with people in real time and real space.

Now, one might ask why my interest in direct communication is manifest in my art practice.  After all, I could continue making traditional tangible artworks, while spending my free time conversing directly with people.  Truth be told, I don’t want to have free time.  I want to spend as much time as possible making art – art that matters to me, and perhaps, to others.  And so, I will continue to use my art to combat the growing tendency of people to immerse themselves in a world of virtual connections.  I will reach out to those people, offering them a chance to experience an art form that connects them directly to another person.  In so doing, I will, at the very least, have the opportunity to experience the richness of social intercourse, myself.

Below is an image from a recent interactive performance entitled “Everything You Always Wanted to Know About Contemporary Art (But Were Afraid to Ask)”