P.S.1 : Internship

Apply for P.S.1 Internship Program Fall 2009 Cycle!

Published Wednesday, July 15, 2009.

P.S.1 Contemporary Art Center offers hands-on internships for college students and recent graduates in all of its departments. Our internship program provides the opportunity to learn about the operations of a non-profit art institution and to work alongside some of the world's most exciting contemporary artists and curators.

Responsibilities and Qualifications
Intern candidates must possess a strong command of English, excellent communication skills, strong writing skills, word-processing skills on a PC-platform, and the ability to work and function in a creative and flexible environment. Most interns are based in one department but have the opportunity to interact with all departments on a regular basis. Our relatively small staff requires interns that are willing to do a substantial amount of administrative work while taking on more critical responsibilities for the institution's operation. All interns work on a volunteer basis for a full trimester with a schedule determined by the Intern Supervisor. P.S.1 requires interns to work a minimum of two full days per week (seven hours per day). It is the responsibility of applicants to retrieve information from their school concerning possible academic credit.

Activities
Interns are required to attend field trips/lectures at non-profit institutions and museums in the New York area that have been organized by the Internship Supervisor. In addition, interns may be asked to assist staff with special events, public programs, and exhibition openings. All summer-fall cycle interns are required to work various Saturdays during P.S.1’s summer music series Warm Up.

Visas
P.S.1 is unable to provide or assist with visas for foreign applicants.

All applications must be received by August 10, 2009 in order to be considered for the Fall 2009 cycle. They must include a cover letter, resume, and official application form that can be found on our website. Late applications will be considered on a case-by-case basis. Start/End dates are flexible and must be discussed with the Internship Supervisor in advance.

For more information about the internship program description and application, please visit www.ps1.org.

The internship program is supported in part by the Milton & Sally Avery Arts Foundation.

Conflux Proposal Deadline Extended

In response to the high level of interest in the initial call as well as requests for more time, the Conflux Team has extended the “ConfluxCity” submissions deadline through Saturday, August 15, 2009.

Reburbia : Design Competition

ANNOUNCING THE REBURBIA DESIGN COMPETITION!

Dwell Magazine and Inhabitat.com are pleased to announce the first ever Reburbia competition: a design competition dedicated to re-envisioning the suburbs.

With the current housing crisis, the sub-prime mortgage meltdown, and rising energy costs, the future of suburbia looks bleak. Suburban communities in central California, Arizona and Florida are desolate and decaying, with for sale and foreclosure signs dotting many lawns. According to the US Census, about 90% of all metropolitan growth occurred in suburban communities in the last ten years. Urbanites who loathe the freeways, big box stores and bland aesthetics stereotypical of suburbia may secretly root for the end of sprawl, but demographic trends indicate that exurban growth is still on the rise.

In a future where limited natural resources will force us to find better solutions for density and efficiency, what will become of the cul-de-sacs, cookie-cutter tract houses and generic strip malls that have long upheld the diffuse infrastructure of suburbia? How can we redirect these existing spaces to promote sustainability, walkability, and community? It’s a problem that demands a visionary design solution and we want you to create the vision!

Calling all future-forward architects, urban designers, renegade planners and imaginative engineers:
Show us how you would re-invent the suburbs! What would a McMansion become if it weren’t a single-family dwelling? How could a vacant big box store be retrofitted for agriculture? What sort of design solutions can you come up with to facilitate car-free mobility, ‘burb-grown food, and local, renewable energy generation? We want to see how you’d design future-proof spaces and systems using the suburban structures of the present, from small-scale retrofits to large-scale restoration—the wilder the better!

HOW TO ENTER THE REBURBIA COMPETITION

Enter the Inhabitat / Dwell REBURBIA competition, by sending up to 5 images and a statement about your design proposal. You can submit as many entries as you like, but each individual entry should be focused on one singular design problem/solution (i.e. a McMansion farm rehab, a bicycle transportation hub, a piezoelectric, energy-generating freeway paving system). Entries will be judged on clarity of idea, usefulness of design, and visual/aesthetic appeal of renderings.

SEPTA : Art in Transit : Call to Artists.

Art In Transit

A call to artists is currently open for two stations in the SEPTA system.

Deadline: August 1, 2009
Project Name: SEPTA Spring Garden Subway Station
Budget: $150,000
Location: Broad and Spring Garden Streets, Philadelphia, PA
Download the Call For Artists Spring Garden Station package (pdf) for complete details and application instructions.

Deadline: September 18, 2009
Project Name: SEPTA Girard Subway Station
Budget: $150,000
Location: Broad Street and Girard Avenue, Philadelphia, PA
Download the Call For Artists Girard Station package (pdf) for complete details and application instructions.

SEPTA invites all artists living in the Greater Philadelphia area to apply for a public art commission. Artists are asked to envision permanent artwork that will be seen by tens of thousands of pedestrians, shoppers, residents, motorists and SEPTA riders commuting through or passing by stations each day.

The Art In Transit Program is designed to incorporate art elements into renovation and construction projects for selected stations and public transportation facilities. The program allocates up to one percent of the construction budget of capitally funded projects for the design, fabrication and installation of permanent artwork. The purpose of the Art in Transit Program is to create a more inviting and dynamic transit environment for regular and new riders and to foster a feeling of pride within the surrounding community.

Conflux 2009 : Submissions

In keeping with its commitment to urban artistic exploration, community participation, shared knowledge, and critical civic engagement, Conflux will organize a user-generated open format event on Sunday September 20th, 2009 from 10am-6pm.

Through an open submissions process, ConfluxCity will provide a platform for artists, urban geographers, technologists and others to organize and produce innovative activities dedicated to the examination, celebration and (re)construction of everyday urban life.

Drawing inspiration from Burning Man’s creed of radical self-reliance and BarCamp’s philosophy of openness and participation, ConfluxCity will adopt an open-space approach in which participants will be expected to organize, promote, and host their own activities and events. To facilitate this format, the Conflux Festival headquarters and website will serve as a central communications hub directing festival attendees outward to individual event websites and locations.

ConfluxCity participants must submit their proposal by July 20th ($10 administrative fee). All proposals will be judged based on artistic merit, originality, and feasibility.

Once you’ve read the guidelines (below) and the participant agreement, please submit your proposal here.

Timeline

June 26: Call for Proposals OPENS
July 20: Call for Proposals CLOSES
Early August: Accepted proposals announced
September 17 - 20: Conflux 2009
September 20: ConfluxCity

Guidelines

Types of Event

Participants in Conflux share an interest in psychogeography. Projects range from interpretations of the classical approach developed by the Situationists to emerging artistic, conceptual, and technology-based practices.

Here are examples of events to be featured in ConfluxCity:

• exploratory drifts/dérives on foot or by bike, subway, bus or other transport
• walks with experimental mapping or navigation techniques
• social/environmental/urban research and fieldwork
• workshops and classes
• temporary outdoor installations/interventions
• interactive performance projects
• street games
• mobile-tech/locative media projects
• micro-radio, podcasting, vlogging and other broadcast proposals
• alternative use/re-use of public space
• projects proposing alternative/experimental/DIY cultures, economies, communities, and artistic initiatives
• lectures, multimedia presentations and panel discussions
• short film/video works
• live audio/video projects and musical performances for night events
• sculpture, painting, photography, or collage that directly addresses urban space and psychogeography

For examples of past Conflux events, visit our archived website.

Selection Criteria

Relevance: How does the event relate to psychogeography?
Does its theme address issues central to classic psychogeography and/or propose new methods? Does the event take a unique approach to exploring, understanding, celebrating or changing the city?

Participant Experience: How do Conflux attendees experience the event? Is the public experience well-thought-through? Does the event encourage dialogue between the diverse communities of New York City?

Feasibility: Is the event’s scope reasonable? Does the event have its own funding? Can the artists travel to Conflux with their own funds?

Locations

Only events that take place in the New York City area are eligible. They may be outdoors or in a venue you provide. Conflux HQ will be located at NYU Steinhardt’s Department of Art and Art Professions in the East Village (34 Stuyvesant Street). The HQ will feature a lounge area for visitors and space for event maps and flyers. There will be wi-fi at the HQ. We’ll focus heavily on events that are in downtown Manhattan, but we anticipate events happening in all five boroughs. In order to prevent excessive congestion at the headquarters, ConfluxCity events may not start or be located within or directly outside 34 Stuyvesant Street. However, we encourage you to locate parks and public spaces nearby that may be suitable for your event.

Heads Up [Permits & Production Info]

Please keep in mind that you’ll be responsible for doing the research and securing any necessary venues, permits, assistants, equipment, materials and so on in the production of your event. IMPORTANT: If your project is outdoors and has amplified sound, the city requires a permit; read about that here. We’d love to help plan each event, but we have a small (all volunteer) staff and our resources are limited. We’ll have several volunteers at Conflux HQ throughout the festival to help everyone. Some things to consider:

• New York Civil Liberties Union [Know Your Rights]
• Obtaining a Park Permit
• NYPD Anti-Graffiti Initiative
• For project materials/equipment, check out Freecycle and Wastematch.

Funding

Conflux unfortunately is unable to provide any funding or material assistance for ConfluxCity events.

Contact Us

If you have questions about the submission process, contact us.

Submission Guidelines

• You may work with collaborators. The form includes space for the lead contact person’s information, as well as the names of collaborators.
• Please don’t send us updates about your project via email during the submission and curating period. If we have questions, we’ll contact you for more information.
• You’ll receive confirmation by email that includes your submitted information. Please keep this for your reference.
• If you’d like to submit more than one project, no problem, but please submit entries individually; each requires payment of the submission fee.
• You must agree to the participant agreement.
• Payment is accepted online via PayPal. Only proposals with associated payment will be considered for entry.

Please submit your proposal here!

Tyler School of Art: Open Studios Fall 2008

October 16th from 7-10, Student Life is hosting an open studio.

They are providing food and beverages for each of the open studio areas. They hope you will participate- students may be coming all the way from Temple Campus to see what were about.

Look at their billboard in the basement of Penrose or visit them in student life for more details.

(my tidbit of information) As Philadelphia Open Studio Tours' application states "Opening your studio is one of the most effective ways to build an audience for your work, connect with clients and network with other artists."

Route and Locations for Open Studios

1) Elkins Hall (7:00-7:45)
Photo (99)
Metals (101)
Sculpture (104 & 001-006 in sculpture bay)
Ceramics (B2)

2) Blai Hall (7:45-8:30)
Printmaking (200-201)
Sculpture (007)
Glass (demo in hot shop)

3) Presidents Hall (8:30-9:15)
Fibers (002)

4) Penrose Hall (9:15-10:00)
Grad Studios (208-312)
Senior Painting (309)

5) Tyler Hall (9:15-10:00)
Grad Painting (101)

New American Painting Deadline

New American Painting
Region: Mid-Atlantic (DC, DE, MD, NJ, PA, VA, WV)

Deadline: October 31, 2008
Release Date: April 1, 2009

Juror: Jenelle Porter, Associate Curator, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA

TO ENTER:

• Send Four (4) 35mm slides OR 8"x10" printouts of current work, each labeled with your name, the work's medium, dimensions and title;
• A current résumé
• A self-addressed and stamped envelope for slide return
• A $35 entry fee (Check made payable to “The Open Studios Press.”)

Mail entries to:
The Open Studios Press Competition Entry
450 Harrison Ave #304
Boston, MA 02118

Restrictions: Our competitions are open to all artists working within the United States. All styles and media are welcome, as long as the work is singular and two-dimensional.

Graduate Portfolio Day

Eastern Graduate Portfolio Day

The Art Directors Club
106 West 29th Street
(between 6th and 7th Aves.)
New York, NY 10001
Saturday, Sept. 27, noon-4 p.m.

Interested in applying to Tyler School of Art's MFA program? Come get your portfolio reviewed by Tyler faculty at this Graduate portfolio day in New York City!

REMINDER: CAA MFA Fellowship

Due October 1st, 2008.

West Prize Reminder

The West Prize is due October 1st, 2007.

Craftforms 2008

Craft Forms 2008
14th International Juried Exhibition, Dec. 5, 2008-Jan. 22, 2009.
$4,000 + cash awards.
Entry fee: CD/Slide $40/Online $30.

Deadline: Sept. 19, 2008.

Prospectus

@ Wayne Art Center
413 Maplewood Ave.
Wayne, PA 19087

NICHE awards

Entries Now Being Accepted for the 2009 NICHE Awards Competition.

Sponsored by NICHE magazine, the annual NICHE Awards competition celebrates excellence and innovation in American and Canadian craft.

Categories include Ceramics, Fiber, Glass, Metal, Wood, Jewelry, Home Furnishings, Judaica, Recycled, Teapots and many more. Two new categories have been added to the professional division for 2009: Art Quilts and Fashion Accessories.

Entries are now being accepted. Entry forms, program guidelines and other information on the NICHE Awards can be found by clicking on the links to the left.

Deadline for student entries is September 30, 2008.

Weaving is FUN! (seriously)

I am leaving today for my week long class in Jacquard weaving at Montreal's Center for Contemporary Textiles. When I come back I am going to show off all the awesome things I learned how to weave, and got to look at, but before then, I am going to give you a quick weaving tutorial so maybe you can understand what I learned.

To start, you have your basic frame loom, which is just like those loopy things you made potholders with. Only its a bit more sophisticated, but really only a small bit more.
I basically have built a very large scale frame loom (now 12ft wide and about 8ft tall) on the wall of my studio with nails and two by fours. Since its on the wall its more correctly called a wall loom, which is a dumbed down version of a vertical tapestry loom which is what William Kentridge's massive amazing tapestries were woven on, (the ones that were in the PMA recently). I'm very jealous of the setup they have and trying to make my wall loom a little more like that with the help of pulleys and such.
The mechanical loom is what most weavers learn on (here at Tyler I got lucky number 13), there are all sorts of variations to different makes and models but they all consist of the same basic principles. Warp going vertically needs to be threaded and kept tight and the weft is passed back and forth horizontally by the weaver, with like 30 steps leading to that simplicity but its a very basic machine, no electricity, no heat or gas coming from this thing. Just a whole lot of woodwork and metal parts and strings laying parallel to each other. Then there is the AVL loom, which is a much more expensive loom that is aided by computer technology, programming and that seems to have a lot of glitches (I do not see the perks in having these looms, only the negatives). It has a lot more options as far as decorative patterns go, say the mechanical loom can only give you 100 different patterns, the AVL could give you 1,000, but thats only cool if you are interested in making fancy patterned fabric and lots of it. The thing is hooked up to a computer and you press start, and it weaves, you still have to pass the weft back and forth though. Then! Finally!! There is the Jacquard Loom, it is a loom where the possibilities are endless, no longer are you working in a grid that is limited to simple or complex patterns (woven fabric is like pixels) . On the Jacquard Loom all of the warp is acting independently, therefore you can get photo realistic images as well as text (pictured) and various other effects. The weft is still passed by hand on most Jacquard looms that are used to make fine art and still called handwoven. Otherwise there are looms that have shuttles that pass back and forth mechanically and this is mainly used for industrial weaving. Some sweet looms that are in Philadelphia are the ones in Philadelphia Universities Textiles department, they have a ton of different looms including the AVL looms and Jacquard looms but they don't make art there, they produce textiles. Also, there is a wire store in Philadelphia, I forget the name but they have looms weaving wire mesh by themselves! Its a crazy thing to see a loom going by itself and producing a roll of wire mesh out the backside.

Pictures of Montreal's killer weaving/textiles setup when I get back. I hope you learned something. Visit my studio, I weave nonstop!

Free Pinhole Camera Templates

So, I came across this link on the Yo Darkroom website, and free is where its at. Basically its a pdf template that you print out on good quality paper, glue together and then use.

Follow this link and choose from 4 options to download and make pictures with.

Charlotte V Rodenberg: Art as Catalyst

Many of us see Charlotte around school, working incessantly with her reclaimed materials and making it all into something beautiful. I asked her why she makes her artwork, why else other than survival. Stoöp has been reminding me that not everyone thinks of themselves in the greater picture of the world, as an artist or even as a person. Charlotte seems to be very aware of herself and the society around her. She is committed to eating beans to practice her art, hopefully one day she will get a break and get herself something else to eat but for now she is making sacrifices to be here, like we all hopefully are. Are you committed to something and want to share? Why do you make your art? Comment!

Why does she make her art? She replied with something short in the email and attached a longer artists statement.
I feel it is important for artists to address today’s society’s ills and ask questions of ourselves and others in order to create social awareness and change. Art has the unique ability to do so. By creating a visually seductive work, the viewer can become involved in the piece long enough to question its purpose and motive. My goal is to make work, which engages the viewer on a deeper emotional level and creates critical dialog and response.

Art as Catalyst:
I strongly believe that art can be a catalyst for social change and awareness. As an artist, I feel it is my responsibility to ask questions of the viewer and myself. With common refuse or detritus as my medium of choice, I am able to speak on topics such as consumerism and today’s waste society. “The overwhelming alienation and depersonalization of our contemporary inner cities is insistently personalized through the work’s adamant handmade quality, indicating how the ubiquitous discarded and decrepit objects which populate this landscape are perpetually available for psychological engagement as loci of personal or cultural memory.”[i]

I have used such discarded and salvaged materials to build my most recent body of work on the theme of global warming. The mascot I have chosen for this cause is the polar bear, which recently was put on the endangered species list as the first species to be endangered due to global warming.

The first of these sculptures “Get out of here Polar Bear, we don’t like your kind around here, Polar Bear!” consists of a six foot polar bear made of salvaged paper and wire placed in juxtaposition with a looped stop animation film. The center point of this film is a handmade fire hydrant installed on a sidewalk. The hydrant is spewing plastic bags, bubble wrap and other miscellaneous plastics -- representing water -- as well as handmade painted cardboard cans. The combination of the video projection and sculpture represent the cause and effect. The abuse of natural resources such as over consumption of water and the lack of recycling materials aid global warming which is rapidly decreasing the numbers of polar bears who rely on artic ice for mating. The polar bear stands facing the display of wastefulness. His stance is erect in a curious and slightly pitiful manner. His fists pulled in close to his body seem almost defensive. His is a passive bystander and the indirect victim of our consumer waste society.

Another polar bear sculpture “Boo!” consists of a Polar Bear covered in plastic sheeting. The sheeting is a reference to the species imminent extinction unless something drastic is done to stop global warming. By covering the sculpture I both reference antiques covered with cloth to preserve their memories and the use of white sheets by children to dress as ghosts both alluding to the plight of the polar bear and its impending extinction. Much like a ghosts haunting, it is both a warning to the living and a plea for help.

In these works and future works, my goal is to create awareness or reaction to social and environmental issues. In correlation with my belief in art’s power as a social catalyst, I am currently researching the works of Joseph Beuys, Gran Fury, the Guerilla Girls and Peter Schumann, all of who have achieved such an effect through their work.

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[i] Quote by.Karen Kurczynski in essay titled ”Reconfigurations: Painting as Drawing” concerning Charlotte Rodenberg’s piece titled “This is my Playground” on TwoFold exhibition at Mass Art

New York Foundation for the Arts (NYFA)

moving to nyc or looking for a job? NYFA is a great resource, mostly nyc jobs but the occasional other location too.

Fredric Jameson (1991)

CLICK HERE! READ MORE! >
Postmodernism, or The Cultural Logic of Late Capitalism

Other Art in the Round Contest – Call to Fine Craft Artists

Deadline August 15, 2008 :

The 2008 Art in the Round Contest is a publicly juried, online competition featuring 3-dimensional, creative interpretations of the vessel form, including bowls, platters, vases, teapots, urns, etc. Media categories include glass, ceramics, wood, metal, gourds, basketry, and mixed/other media. Eligibility: Professional, emerging, and student artists are eligible to participate. Selection: The general public will be invited to visit the web site and sign up for the jury pool. Jury members will vote on their favorite works of art and will determine 1st Place winners in each media category. Best of Show will be determined, in part, by the public jury and final decision will be made by a separate panel of jurors (to be announced). $6,500 total cash awards will be presented. Entry fee $25 for images of up to 3 works; each entry fee will be donated to the community art center, guild, or art association of the artist's choice. For complete details, visit www.artintheroundcontest.com

FluxTask

Many of us attended the Oliver Herring show at the FLUXSpace last December 15, 2007.

Well it looks like they want to do something like it again September 6, 2008. For the Philadelphia Fringe Festival, they set up an entirely new website for fluxtask with all of the information about whats happening. They need lots of money and help. While I don't think any of us can help with the money part there are quite a few volunteer positions, photographers, videographers, press, face painters, etc. And they have a poster competition! Just go to the website!!

Broadway Gallery in NYC Seeks Artists for Group Exhibitions, NYC

Broadway Gallery, an alternative artist space in New York, is reviewing work by artists to take part in group exhibitions. Interested artists should send four images (jpegs only please) of their works and their c.v. to via e-mail. The gallery is also accepting proposals for group shows of 15-20 artists; to apply, send your proposal as well as two works and c.v. from each artist to be included via e-mail. All submissions should be sent to: info@broadwaygallerynyc.com.