Wednesday, October 31, 2007
This Friday, go to Alexander Hall to see the MFA thesis exhibitions of Katie Wright and Sarah Jones. The opening reception will be from 5-7 pm. It's a great double-feature, as both artists address concepts of loss and memento, but in very different ways.
Sarah has extensively documented the rural, Virginia home of her grandparents; a home so filled with the clutter of two lifetimes of collecting that some rooms can no longer be used for their intended purposes. Intended as a memento mori, Sarah's work is a poignant tribute to the remnants of lives lived.
Katie's work is poetic and fluid and an attempt at holding on to those she loves most in the world. She is interested in the concept of preservation, particularly as it relates to the medium of photography. The body of work as a whole is open ended, allowing space for the viewer to navigate and find moments of connection.
A closing reception of MFA candidate, Kyle Ford's, show, "Paradise Bought: Big Prints in a Little Room" will also be held this Friday from 7-11 pm at TruSpace on DeSoto Avenue (40th and Bull behind Starland). Some of Ford's large scale landscapes are printed at a dimension of 9ft!
CALL FOR ARTISTS: Studio Montclair presents
"Currents", the Eleventh Annual Open Juried Exhibition at the 4,000 square foot Court Gallery of William Paterson University, Wayne, NJ from March 24 to April 22, 2008. $25 entry fee for three images in CD format only (DVD's accepted for videos). All mediums, including videos and installations, will be accepted. Beth A. Venn, Senior Curator of the Department of American Art at the Newark Museum will jury the exhibition. Cash awards. Deadline for entry is November 16, 2007. SASE for prospectus to: Studio Montclair, 108 Orange Road, Montclair NJ 07042 OR download from our website: www.studiomontclair.org.
Call for Digital Artwork.
Entries for solo and small group exhibitions for our 2008 schedule at Digital Artist's Space in Troy, NY are now being considered. Submitted artwork must have been completed within the last 3 years. Artwork must be created with some digital component (either created, scanned, manipulated, printed or photographed digitally), and images must reflect a cohesive body of work. Entry Fee: $20 for up to 10 images, $30 for up to 20 (checks payable to Digital Artist's Space). Download prospectus and entry form at: http://www.digitalartistspace.com/call_for_entries.htm. Deadline for submissions is ongoing for subsequent shows. For more information email: email@example.com.
CALL FOR ENTRIES: Second Street Gallery
(www.secondstreetgallery.org) established in 1973, seeks entries for its 2008-2009 exhibition season. Submit 10 slides or Mac CD PowerPoint presentation (not PowerPoint show), slide list, resume, statement, SASE, and $15 fee. 3 review sessions, postmark deadlines: 10/1/07, 10/29/07, or 12/3/07. Second Street Gallery, 115 Second St SE, Charlottesville VA 22902.
EMERGING ARTISTS 2008
Sixteenth annual competition for group exhibition and cash awards. The exhibition will be held in March 2008 at the Limner Gallery. Open to all media, $2000 cash awards. For prospectus e-mail: firstname.lastname@example.org, print from the website at: http://www.slowart.com/prospectus/ea2008.htm OR mail SASE to:
SlowArt Productions, 123 Warren St, Hudson NY 12534
Call for Entries: 22nd International Juried Show.
Open to all artists, all media. Plus all NEW Best In Show Prize. Juror: Carter Foster, Curator of Drawings for the Whitney Museum of American Art, New York. Previously, he was Curator and Co-Chair of the department of Print and Drawings at the Los Angeles County Museum of Art and a Curator in the drawing department at the Cleveland Museum of Art. Slide and CD entries due December 1, 2007 for February 8, 2008 exhibition. Send SASE for prospectus to: Visual Arts Center of New Jersey, 68 Elm St, Summit NJ 07901 OR email: email@example.com OR download prospectus at: www.artcenternj.org (see "Exhibitions, Juried Show")
YOSEMITE RENAISSANCE XXlll is an annual Juried Competition. $4000 in Awards will be presented at the Opening Reception. It is open to all artists with no restriction on number of entries. Subject matter is limited to landscape, environment, wildlife and people of Yosemite or the environment of the Sierra. Both representational and nonrepresentational submissions are accepted. Entries may be in any fine art medium including painting, photography/digital, drawing, pastels, printmaking, textiles and three-dimensional works. Entry by digital file or 35mm slide only. $20.00 for first entry, $15 for each additional entry. Application form and additional details at: www.yosemiterenaissance.org
ARTISTS ENCLAVE AT I-PARK - INTERNATIONAL RESIDENCIES. Self-directed/project-oriented residencies offered from May through November 2008. Most sessions are 4 weeks. Residencies offered to visual (including digital) artists, music composers, environmental artists, landscape and garden designers, creative writers and architects. Work samples evaluated through a competitive, juried process. There is a $20 application processing fee required and artists are responsible for their own transportation to the area. They also provide for their own food and work materials. The facility is otherwise offered at no cost to accepted artists. International applicants welcome (two grants will be available). For additional project information, go to our website: www.i-park.org. Application materials for 2008, including an in-depth FAQ, will be available for direct download from the website in early September. E-mail:
firstname.lastname@example.org. Phone: 860-873-2468.
GRADUATE ASSISTANTSHIPS available in an intense MFA interdisciplinary visual arts program. Facilities include fully equipped darkrooms for: black and white, color, non-silver and mural printing. Also available is a digital lab with new iMacs and Epson 4800 and 9800 printers. Students are provided with individual studios as well as a graduate darkroom. Stipends for nine month contract periods are approx $10,000 plus tuition waiver and can include teaching experience. For information and application write: Professor Catherine Angel, Coordinator of Photography, Art Department, University of Nevada Las Vegas, 4505 Maryland Parkway, Las Vegas NV 89154-5002
OR Web site:
Nov 15, 2007 INTERNATIONAL EMERGING PHOTOGRAPHERS CONTEST
Seeking remarkable images, photographed purposely for this contest (since Oct 1, 2006) related to the theme, "Ethereal Beauty", from amateur photographers (ages 18-34), and artists who express themselves using the photography medium, for 2-wk group exhibition. Email submissions must bear the words, "I hereby certify that the photo I am about to submit is my original and unpublished work. I am entering this photo as an honest and true effort of my personal creativity and unique artistic vision, and I understand that if it will be published it will be as my original work and under my own copyright." No returns. Please send portfolio of 10 photos (JPEGs at 72 dpi res) with titles, short description of the content of the shots, medium, and original width and height; name, surname, DOB, place of birth, age, nationality, current address, zip code, phone, and email address; short biography, artistic CV, and 3 more shots to support ability, to: Alice Rosati, NY1art gallery, 511 W 25th St Suite 406, New York NY 10001 OR 212-627-3181 OR http://ny1art.com OR email@example.com
CALL FOR BLACK & WHITE ART A juried exhibition of black and white photography that reveals the truth that exists between two extremes through the mediums ability to capture subtleties and nuances. Entry fee. Send an SASE for prospectus to: Arts & Literature Laboratory, 319 Peck St A-O, New Haven CT 06513 OR http://www.allgallery.org OR firstname.lastname@example.org
Tuesday, October 30, 2007
Typically, I check the NY Times for new exhibition reviews on Friday and again on Sunday for more extended articles on the arts. If you can afford to, get a subscription to the Sunday Times. The Magazine alone is worth the price. The Photo Editor of The Magazine, Kathy Ryan, has become something of a taste maker, and she continues to make innovative choices, especially in terms of hiring "fine art" photographers to do commercial, editorial shoots. Plus, the crossword puzzle is great. I can sometimes solve it, but it takes me the entire week.
If you get one subscription to one photography magazine, get Photo District News (PDN). I like it because it's ecumenical. There are articles about both commercial and fine art as well as technical pointers and equipment/software and book reviews. Other magazines worth looking at on a regular basis are Art in America, Artforum, and Aperture.
Lastly, the internet is a great resource. I frequently check the websites of galleries and museums, and if I ever hear a name I don't recognize, I Google it. Blogs are great too! "Power to the people," I say. I know that some of you will have some great suggestions for internet resources, so please post your comments!
I have been showing my work recently in some galleries in the DC area and I have heard a lot of mixed opinions. One well-respected curator told me "I would certainly hope that no digital prints would be shown on the walls here." On the other hand, collectors seem to be fascinated by the fact that I still create traditional c-prints. It's like I am some sort of analog freak! Is the traditional c-print becoming a hot item to collectors because it has become rarer? Or do collectors favor digital prints? Or is it just my imagination? Regardless, I have decided to build a traditional color darkroom in my basement. No joke! After you leave SCAD, where the heck do you print?! The rental darkrooms are certainly disappearing. In the DC area, I have to drive two hours away to find one. My secret plan...I have a used CP-51 Fujimoto sitting in my basement, and I am going out to buy ventilation piping tomorrow. If everyone is starting to print digitally, could I have some sort of special niche just because I print traditional c-prints?
I want to know what other people think.
JK: When did you graduate from SCAD?
DF: Spring 2005
JK: Could you summarize what you’ve been up to since you graduated?
DF: After SCAD, I moved directly to New York City and became studio manager for photographer Joyce Tenneson (I interned with her the summer before). Simultaneously, I was working as a freelance assistant to a few other photographers. This was possible because I only worked for Joyce 3 days per week. On the weekends, I would try and shoot my own photographs for my portfolio. By 2006, I decided to quit working for Joyce and go 100% freelance. Since then, much of my income has come from freelance retouching work that I do on the side to support my beginnings in photography. I’m slowly weaning myself off retouching as my photography jobs increase
JK: How would you describe your style of photography?
DF: Conceptual, moody, and somewhat sinister.
JK: What was your favorite class at SCAD, and why?
DF: Probably Intro to Photography. Up until that point, I was intending to major in graphic design and illustration. The intro class (taught by Rebecca Nolan) really inspired me and is the reason why I’m doing photography right now!
JK: Besides me (of course), who was your favorite SCAD Professor, and why?
DF: Oh, this isn’t fair because they’re all so great for their own unique reasons. I loved David Mackie because he was such a genius. Andy Moxon was truly inspiring for his gung-ho attitude. Liz Darlington, Larry Dixon, ahhhh the list goes on and on!!
JK: Who are your favorite contemporary photographers?
DF: Eugenio Recuenco, Erwin Olaf, Nadav Kander, and Eric Ogden.
JK: Have you had any nightmare assignments? If so, tell us.
DF: Well, most of my personal shoots are nightmares. This is because I tend to think big and get in over my head. When I do client work, everything goes much smoother during shooting, but the nightmare element usually involves money. Every single job involves lots and lots of haggling because people expect so much for so little. Arguing over money can really damage the client / photographer relationship. Luckily, I now have an agent that can be the “bad cop”
JK: Are you currently making a living exclusively through photography? If not, how do you supplement your income?
DF: I wish I could say yes… Truth of the matter is that I make at least half of my money through retouching for other photographers. I treat it as my “bread and butter” and invest everything directly into my own photography expenses. It’s a hard balancing act—the money from retouching is so good, but I have to prioritize my shooting career. I just always make sure I limit the amount of retouching jobs I take on.
JK: What’s the best thing about living in NYC?
DF: Anything is possible. You have unlimited resources, and the sky is the limit.
JK: What’s the worst thing about living in NYC?
DF: Facing true disillusionment. You lose your ego in this town.
JK: If you had $10,000 to spend on gear, what would you buy?
DF: I guess it would be nice to actually own a camera for once! I’ve still been renting everything up until this point. Truthfully, if someone gave me an extra $10,000 right now, I’d probably put it towards promotion costs. Either that, or production costs (I’ve spent $10,000 on a single shoot). Buying equipment is low on the priority list.
JK: What’s the best advice you’ve ever gotten from a teacher or mentor?
DF: I guess it was from Craig Stevens who explained the difference between “making” a picture and “taking” a picture. I apply this principle to my creative process every time.
JK: What advice can you give to current SCAD Photography majors?
DF: If your goal is to become a freelance photographer, realize that it won’t happen overnight. Starting any business requires lots of time and tons of money. It is very smart to begin assisting and working for other photographers. You’ll learn a bunch, and you’ll make lots of contacts that will be useful to you further down the road. Not to mention, you’ll actually make money to support yourself. It’s hard, but try not to settle down into a full time job. Once you adjust to a certain level of comfort, it’s very hard to go back.
Oh, and read these books:
Best Business Practices for Photographers by John Harrington
Starting Your Career as a Freelance Photographer by Tad Crawford
The Real Business of Photography by Richard Weisgrau
Artists generate ideas and work in different ways. Some "do in order to know", whereas others tend to "know in order to do." Most go back and forth. They try something, they think about it, they listen to what others think about it, they try something else, and start thinking about it again. The "do in order to know" camp often describe their process as "intuitive", while the "know in order to do" people might consider themselves more "conceptual." Personally, I'm not all that interested in these binaries.
From my own experience and from working with students, it seems that most people go back and forth. Working "intuitively" sounds romantic, but ideas and motivations for making art don't just mysteriously emerge from nowhere. Despite those wonderful, seemingly "eureka!" moments, a great idea is the result of thinking and looking and being "plugged in" to the culture, the art world, a peer group, etc.
WD-40/1: Research. Look at magazines. Watch TV. Listen to NPR. Read books. Have conversations about photography, politics, shoes, killer whales...whatever you're interested in.
And that leads me to WD-40/2. Know what you're interested in. I'm obsessed with stacks of things. I love repetition. When I see a neatly stacked tower of bathroom towels it makes me really happy. In my art making process, I repeat things. I stack, and I think I know what it's about. In some ways it's about the capitalist "more is more" ethos; excess to the point of obscenity. But the higher the stack gets, the more vulnerable it is. I like that idea, too. I like the idea of something getting so big that it defies all the laws of gravity. What do you like?
WD-40/3: Try something silly. Get a stack of index cards. Write some random words on them (adjectives are good). Shuffle. Lay out a few. Now imagine what kind of a photograph you would make to illustrate that combination of words. Or, try playing the art "love child" game. What kind of work would the love child of Diane Arbus and Ansel Adams make? Hmm...freakish landscapes...could be kind of cool.
WD-40/4: If all else fails, just do it. Just shoot. Don't worry about what it means. Sometimes others can help you figure that out. And don't give up on a project if you don't get results right away. See if you can shoot and edit and think and re-shoot your way out of what might seem to be a dead end. If you're really really stuck, set a really narrow set of parameters. For example, only shoot one room in your house for a week or one person's face for a month, or one object every hour for a day. Ironically, sometimes the most innovative ideas can be generated from the spots that seem the tightest.
Please add your own comments and helpful hints!
Monday, October 29, 2007
Alumna Linda Wilson (MFA) will be exhibiting images from her "Sense of Self" series at the Gallery in the Milburn Stone Theatre at Cecil College in North East, MD. A reception will be held on Tuesday, November 13th from 6-7:30 pm. For more information, call 410-287-1023.
Fashion Photographer Jill Watchter
Sunday, October 28, 2007
Unread books, piles of untouched collections and dust-covered treasures fill the large rooms. A house, once a loving home, feels like an abandoned antique shop. A hobby of collecting, at some point, becomes compulsion.
The Anchorage is an investigation of loss, the fear of being forgotten and the inability to let go. The house and years of accumulated clutter has become a relic of my grandparents’ lives. Their abundant possessions comment on the compulsiveness of holding on to the past. My photographs function as my own method of collecting their story.
Saturday, October 27, 2007
Roland Barthes coined a term for the unexplainable "pricking" effect that certain images have on us; punctum. But as one woman's trash is another's treasure, my punctum image may not be yours. It is wholly subjective and the result of one's ideolect (another fancy Barthes term). In layperson's terms, ideolect is simply what the individual brings to the image; his or her baggage if you will.
The following image took my breath away when I first saw it:
Doug Keyes, Becher, Water Towers
The technique was relatively simple. Keyes made multiple exposures on the same piece of film of about 40 2-page spreads from the Becher's monograph. For those of you unfamiliar with their work, following are four images from the series:
Bernd & Hilla Becher, Watertowers
The Becher's work is deceptively simple in the ways in which it addresses the concept of typology, particularly as it intersects with photography itself. In these photographs variations of an industrial, functional, utilitarian structure--the watertower--are represented. We've all seen them and we know the purpose they serve. Certainly differences are evident when we compare one tower with another, but when taken as a whole, when confronted with 100's of images of watertowers, those differences begin to collapse.
How many choices are available to a watertower designer/engineer? And how many choices are available to a photographer?
Keyes' photograph beautifully and economically illustrates this sense of collapse. Any differences that may have been evident in the individual images of watertowers have been subsumed by the whole and we are left only with a vague and shaky sense of "watertower-ness". In some ways, Keyes' footnote to the work of the Bechers communicates the concept of typology even more effectively than the Bechers did themselves.
Westerners tend to love classification. We categorize. Incessently. We are either black or white, true or false, gay or straight, Democrat or Republican, on or off, right or wrong, with us or against us. This is how we make sense of the world, and ironically, this is how I "made sense" of Keyes' image.
I tried to find its proper category. Because of my ideolect, I was familiar with the Becher's conceptual motivations, and I was also familiar with the work of an unsavory character from the history of the medium, Francis Galton. At a time when snake oil salesmen made a good living and phrenology was considered a science, he proposed that by photographically combining multiple exposures of several members of a particular ethnic (or criminal, or medically at risk) group, that the "essence" of a "type" could be revealed (and presumably avoided).
Keyes uses a compositing technique, but instead of revealing something essential about the Becher's watertower images, he only reminds us that "essence" is a myth. The more we try to find some underlying "truth" the blurrier it gets, and the more it slips away.
To see more of Keyes' work and to read and artist's statement, click here.
The most recent snapshot of my family.
Who is your favorite (non-photographer) artist?
Yikes! I can’t do this! Who is my favorite child? I like too many for different reasons at different times. I guess it boils down to people who have something interesting to say with their work, and do so with integrity.
What’s the hardest thing about teaching photography?
Figuring out how I know what I know so that I can communicate it to someone else in the clearest possible way.
What’s your favorite word?
Spleen, because it just sounds funny when you don’t think about what it means.
What’s your least favorite word?
Pus, because you can’t help thinking about what it means.
If you couldn’t be an artist/educator, what profession would you choose?
If jazz musician doesn’t count, then something in the sciences.
What’s your favorite color?
What’s your Zodiac sign?
Gemini, I think, or Gemini. But I refuse to be ruled by the stars, or even second-rate actors for that matter.
What was your childhood nickname?
I didn’t have one, and by that, I don’t mean that “I Didn’t Have One” was my nickname.
What’s the best book you’ve ever read?
Holy crap, I was an English major! That’s like the favorite artist question. I guess the one I come back to most often is Whitman’s “Leaves of Grass,” even though I don’t think I’ve ever read it all the way through. It’s a constant source of discovery and inspiration.
What’s the best advice you’ve ever gotten from a teacher?
Jim Rambeau, one of my early college English professors, taught me to keep my writing clear and simple, but not simplistic. I think I try to approach everything that way, including my photography.
Do you have any children? If so, what are their names and ages?
Two daughters: Cadyn-24, and Isadora-21 in November.
If you could take any class at SCAD, what would it be?
MA in Cinema Studies.
What’s your favorite TV show?
Another one of these? Currently? Of all time? Be more specific! Currently, “The Office.” Of all time, it’s a “Seinfeld,” “Simpsons” toss-up.
Why is photography such a powerful medium?
Because it has elements of objectivity and subjectivity, realism and expressionism. It thus forces the photographer and the viewer to engage it with both sides of the brain.
If you could go out to dinner with anyone, living or dead, whom would you choose?
Living. Dead would be pretty unappetizing, and dull. Seriously, though (sort of), I think Jefferson, Buddha, Einstein, Zappa, Robert Adams, and my wife Deborah (she’s much better than I am in social situations) would make for an interesting evening. But ask me tomorrow and it would be a different group.
Do you have any guilty pleasures? If so, fess up.
Fly fishing, but I’m only a purist when it comes to freshwater trout; for anything else, I’ll throw some bait on the bottom in a heartbeat if that’s what it takes. Also, billiards and table tennis, although I rarely get a chance to indulge. Also, my inner geek likes the “Dune” sci-fi series.
What’s the best thing about photography?
The best thing about photography is that, despite some of the claims of po-mo, as long as there are people making photographs, there will be new and different ways to reflect, interpret, and share the intersection between the inner and outer world.
Oct. 11-Nov. 20
"Inside Outside" Exhibition by Steven and Deborah Mosch
Pinnacle Gallery, 320 E. Liberty St., Savannah, Ga.
The Savannah College of Art and Design exhibitions department presents "Inside Outside" by professors Deborah Mosch and Steven Mosch. The title of this exhibition highlights differences in the artists’ styles: Deborah’s paintings and drawings present abstractions of her internal thoughts and emotions, while Steven’s panoramic photographs capture views of the outside world. This project was funded through a SCAD Presidential Fellowship for Faculty Development. This event is free and open to the public. The opening reception is part of the Gallery Hop on Friday, November 9th.
Chandler Griffin is a New York City based independent documentary filmmaker and educator. His projects have taken him to film and teach in Latin America, North America, the UK, Africa, and India. Chandler is the Founding Director of Barefoot Workshops. He has developed and produced educational programs in Northern Uganda, Rwanda, Burundi, Kenya, South Africa, Honduras, India and various locations in the USA. He is a Founding Member of Video Volunteers and is on Jackson Hole Film Festival's Global Insight Advisory Committee. Chandler started The Arnold & Friends Fund (www.TAAFF.org) and Registered Redneck (www.registeredredneck.com) to fundraise for AIDS orphans in Zimbabwe. He has collaborated with Navsarjan Trust, PLANusa, 1 Giant Leap, PBS, The American Cancer Society, FXB, Ocean Classroom, Maritime Challenge, The Ford Foundation, The RFK Center for Human Rights, FilmAid International, The International Film & Television Workshops, Global Media Adventures and the State Department's Digital Freedom Initiative. He holds a BFA in Photography and a BFA in Video/Film from the Savannah College of Art and Design.
Chandler and wife, Alison Fast, are constantly working to develop new programs for Barefoot Workshops.
Friday, October 26, 2007
update & maintain multiple databases, update & maintain press clips, research projects, office management duties (i.e. ordering supplies, booking cars and airline, compiling expense & PC reports), other administrative duties as required-assist in the distribution of
video content to festivals, distribution partners and PR contacts--assist in publishing videos and writing blog content on fountainhead.com and related production websites. Ideal candidate will be sharp, flexible, proactive, and able to work in a fast-paced, dynamic work environment. This is an excellent opportunity to learn about the entertainment and the advertising business through hands-on participation. Whether you are interested in editorial, production, marketing/distribution, or international sales, there is ample room for growth in this position and the job will become what you decide to make of it. Requirements:--Bachelor's degree--experience in an office environment preferred--Proficient in Outlook, Microsoft Word and Excel--Superior attention to detail and dedicated work ethic--Must be a self-starter, flexible, and organized.
t: 212 620 3092 m: 917 539 8372 e: email@example.com
Position: Full-time tenure-track appointment in Photography/Digital Imaging at the rank of Assistant Professor. Salary is commensurate with experience. Position begins August 2008.
Qualifications: MFA in photography required. Two to three years' full-time teaching experience beyond graduate school preferred. Applicants should have experience in digital imaging technologies including camera operation, post-production applications, and computer generated imaging in a Macintosh environment. While this position will emphasize expertise in digital processes, competency in film-based
photography is expected. Conversant in the history of photography and knowledge of photography in the context of contemporary art. Applicants should possess a record of accomplishment in creative research:
gallery and museum exhibitions, grants, and other appropriate creative activity. Commitment to, and excellence in, teaching. Ability to effectively critique a wide range of approaches to photographically
based artwork. Evidence of collaborative teaching activities in cross-media desirable.
Responsibilities: Teach all levels of undergraduate and graduate courses in the photography curriculum. Consult with faculty to design and implement new digital still and time-based imaging classes. Collaborate
with department and college faculty on innovative cross-disciplinary teaching. Assist in managing darkroom and digital lab facilities; participate in developing strategies for additional facilities.
Ongoing, active development in creative research, teaching, and service is required. Faculty members participate in department/college/university committee assignments, professional and community service, and student mentoring. Visit http://www.art.utah.edu for information on our department.
Application: A letter of application addressing research and teaching interests, CV, artist's statement, statement of teaching philosophy, two course syllabi, 20 examples of applicant's recent work and 20
examples of student work in Macintosh OS X compatible CD/DVD form and SASE.
Three letters of recommendation should be sent under separate cover by the referees. Address application materials to
Chair of Photography/Digital Imaging Search Committee
University of Utah
Department of Art and Art History
375 S 1530 E RM 161
Salt Lake City, UT 84112-0380.
A/D 11 January 2008. Interviews will be conducted at CAA.
Employer Information: The University of Utah is a Doctoral/Research University-Extensive public institution, which supports faculty research. The University is an AA/OE employer and encourages applications from women and minorities, and provides reasonable accommodation to the known disabilities of applicants and employees.
The University of Utah values candidates who have experience working in settings with students from diverse backgrounds and possess a demonstrated commitment to improving access to higher education for historically underrepresented students. The flagship of the state's higher education system, the University of
Utah is located in Salt Lake City, a diverse metropolitan community at the foot of the Wasatch Mountains offering a wide range of cultural and recreational activities.
For more information on this contest, go to www.pdnedu.com. The deadline is December 5th.
"Decay Constant" Exhibition by Katherine Wright
Alexander Hall, 668 Indian St., Savannah, Ga.
Monday-Friday, 9 a.m.-5 p.m.
The Savannah College of Art and Design exhibitions department presents ”Decay Constant” by SCAD M.F.A. photography candidate Katherine Wright. In her series of photographs, featured in her M.F.A. thesis show, Wright investigates her world and the anxiety she feels about constant change, perpetual aging and the eventual loss of those closest to her. This event coincides with the Nov. 9 Gallery Hop and is free and open to the public.
NATIONAL PHOTOGRAPHY EXHIBITION - November 6, 2007Open to anyone creating photographic images. All photographic and related processes are encouraged including digital, non-silver, and photographic book arts. Photographers from throughout the United States are invited to submit entries that explore their interpretation of the theme "Imaging and Identity: Photography and Self in Contemporary America." Awards include a solo show in the Fine Art Gallery at Texas Woman's University, Denton, Texas; a $500 cash award, Coupralux Award (including fine art digital printing materials and digital workup and full Giclée print), and Red River Paper Award (Canon printer and Red River Paper sample pack). Entry fee.
Joyce Elaine Grant Photography Exhibition
Texas Woman's University
NATIONAL WORKS ON PAPER JURIED COMPETITION - March 14, 2008June 21 to July 14, 2008. The show will be juried by Charlotta Kotik, Curator at the Brooklyn Museum of Art. Cash awards will be given to winning entries. Entry fee.
For an entry form, please send a SASE to:
Long Beach Island Foundation of the Arts and Sciences
120 Long Beach Boulevard
Loveladies NJ 08008
|Smaller is Better - Clark University, Schiltkamp Gallery (Worcester, MA)|
|Date Posted: Oct 2, 2007|
Clark University announces a call for submissions to its upcoming show, Smaller is Better. All media will be accepted. The size limitation is six inches or less in any one dimension.
The exhibition will be held at the Schiltkamp Gallery at Clark University from November 29, 2007 to January 31, 2008. Works requiring special equipment to be shown will be the responsibility of the artist. Work must be ready for hanging or display.
For submission requirements, please contact the individual listed below or send an e-amil to firstname.lastname@example.org.
|Contact: Gregory Thielker, Co-director |
|Organization: Clark University, Schiltkamp Gallery|
|Mailing Address: 92 Downing Street, Worcester, MA 01610|
|Telephone: 508-793-7113 or 617-692-0434|
|Fellowship 2007: Eighth Annual Fellowship Competition - Silver Eye Center for Photography (Pittsburgh, PA)|
|Date Posted: Oct 2, 2007|
| Silver Eye Center for Photography, a non-profit organization, is hosting its Eighth Annual Fellowship Competition for Award & Exhibition. One photographer will be selected to receive a $5,000 Fellowship and will be presented with a one-person exhibition opportunity in Silver Eye Center's Main Gallery. |
Additional photographers will be recognized with the distinction of Honorable Mention. They will receive a $100 honorarium and will be invited to exhibit one photograph each.
The exhibition will be held December 5, 2007 through February 2, 2008.
Silver Eye Center for Photography is the oldest non-profit organization in Western PA dedicated solely to the understanding and appreciation of photography as an art form.
To apply, visit the Web site below and download an application. Please send submission materials to the postal address listed.
|Organization: Silver Eye Center for Photography|
|Mailing Address: Attn: Exhibition Opportunities, 1015 East Carson Street, Pittsburgh, PA 15203,|
|Deadline: Dec 1, 2007|
|New Art 2008 - MPG Contemporary (Boston, MA)|
|Date Posted: Oct 2, 2007|
| New Art 2008, a national competition at MPG Contemporary, is searching for emerging artists within ten years of graduation and with no gallery representation. All media is welcome for submission with the exception of video. Work may not exceed six feet in any dimension. |
This year's juror is Rachel Rosenfeld Lafo, Director of Curatorial Affairs, Rose Art Museum, Brandeis University.
Show dates are January 4 to 26, 2008. Cash awards will be presented.
To apply, please send the following to the postal address listed below.
|Contact: Madeline Lazaris, Gallery Assistant|
|Organization: MPG Contemporary|
|Mailing Address: 450 Harrison Avenue, Suite 55, Boston, MA 02118, Attn: NA 2008 |
|Deadline: Nov 30, 2007 |
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