Subject:
calls x 53 pt 2
Message:
Expressions of interest:Curatorial Opportunity : Craft Queensland
Deadline: Monday 22 March
As part of a new initiative to promote the development of craft
curatorial
practice in the state, Craft Queensland will offer opportunities for
curators to develop exhibitions for the CQgallery program in 2004. In
the
first instance Craft Queensland is seeking an enthusiastic and
innovative
curator for Collectables - an exhibition showcasing collections of works
by
Queensland contemporary craft and design practitioners. The selected
curator
will work closely with Craft Queensland staff to develop, manage and
promote
the exhibition. A curatorial fee of $5000 will be offered to the
successful
applicant.
Find out more at: http://www.craftqld.com.au/jobs.htm
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Calls For Applications: Siganto Scholarship
Deadline: 23 April 2004
Siganto Scholarship: $5000 for emerging artists in the public art field
Queensland artists wanting to kickstart their practice in public art
have
until Friday 23 April to apply. Managed by Artworkers Alliance, the
Siganto
Scholarship is the only scholarship specifically for artists working in
this
area, in the initial stages of their career. The recipient can choose
how
they use the funds for their professional development. Examples include
international residencies, industry mentorships, or travel for the
purpose
of research.
To find out more email info@artworkers.org or phone 07 3215 0850.
Find out more at:http://www.wellcome.ac.uk/sciart2004
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Categories: Spring, Summer, Autumn, Winter.
Distributed to art buyers in Design, Advertising & Publishing
Selected entries will be showcased on our stand at the
Artists & Illustrators Show at The Business Design Centre,
London, UK from 22nd - 25th July 2004
The A&I Exhibition is UK's largest creative, practical and educating arts and crafts
exhibition. Throughout the four days of the exhibition there will be professional artists
presenting demonstrations, workshops, seminars and lectures. This is a chance
to network, meet other artists, buy art materials, buy art, book your next painting
holiday, join an art course, get expert advice from top arts professionals and
manufacturers and much more. This is a creative exhibition that brings together more
than 150 exhibitors and 16,000 artists and illustrators of all abilities.
New for 2004: products and techniques of computerised art, digital art, crafts and
creative card making.
http://www.aimag.co.uk/
365 CALENDAR ENTRY FORMS e-mail info@refocus-now.co.uk
To read the guidelines visit
http://www.refocus-now.co.uk/Pages/365.htm
Deadline: 25th March 2004
Refocus Now
6th Floor, 175 Piccadilly
London, W1J 9TB
United Kingdom
http://www.refocus-now.com
info@refocus-now.co.uk
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-----PERFORATIONS and eyedrum art and music gallery-----
::::::call for materials::::::
UNREADABLE
The 'unreadable' can play host to a whole constellation of confusions, delays, varying intensities, opacities. and intentionalities.
Surely unreadability cannot be purely a perceptual problem -- although the imperceptible must also cross with the seemingly imperturbable figure of that which can't, or attempts to refuse, to be read. It thereby refuses a placement into any certain category except that which can not be read.
But in an age figured by 'transparency' and accessibility what can be the status of the unreadable (does it hide a secret, is it hermetic, or just non-sense?), of an event that refuses to be figured other than by its own refusal?
A whole range of phenomena move within the orbit of the unreadable: certain gnomic poetic texts (some might even say poesis generally, in its emphasis on singular expression); encrypted texts, with varying levels of intentionality, from 'unsolvable' hoaxes to encrypted government texts; mystical or apophantic texts, where the referent is placed necessarily 'one step beyond' (we could include certain philosophical texts here also, as well as the theological); texts of the insane, where there is likewise a radically displaced referent; texts generated by system or machinic failure, either naturally occurring or mimetically induced, as with computer generated texts, where reference is clearly on THIS side but understanding still falters; historical texts which have lost their cultural, political, or, and this perhaps amounts to a recapping of the first two, historical contextualization and have no apparent Rosetta stone.
And lastly, a very contemporary environment of 'objects' which increasingly demand to be read as 'subject-like' (i.e., language-like, textual), if not actually subjectivity itself: that is, the mute opacities of gestural and semiotic systems, uprooted from their humanistic references and displaced onto or within the cybernetic blur the line between the human and its mechanical other, making each readable by the other, but at the expense of shunting aside what cannot be read. The result seems to range from catastrophe to epiphany, each being all but impenetrable to the other.
The unreadable seems to be about the extreme limit of cognitive and emotional states, a liminal state where chiasmatic reversals are apt to occur just at the moment of 'understanding', where translation becomes suspect, and where stoppage becomes a virtue in search of its own foundation.
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There will be not only the PERFORATIONS release, but also an event called UNREADABLE May 20th, at eyedrum art and music gallery. Co-editors for both events will be Robert Cheatham, zeug1@earthlink.net, and John Lowther, j.lo@earthlink.net. Deadlines for PERFORATIONS are fluid since each issue is an ongoing node of investigation but consider that May 20 is the official release of the issue. Obviously material must be received before the May 2Oth date for inclusion in the live eyedrum event.
Any media is acceptable for either perforations or the eyedrum event. However, the perforations material must be web-ready, in any of the standard web formats (Flash, PDF, streaming audio, standard HTML, etc.) Queries considering web materials as well as submissions may be sent to Robert Cheatham, zeug1@earthlink.net.
Materials for live presentation at eyedrum can be VHS, DVD, paper, audio, etc. Queries and submissions concerning the live presentation at eyedrum may be sent to John Lowther, j.lo@earthlink.net.
There will be a compilation of materials in a limited editon boxed set to be released on the new eyedrum publishing effort, NAMELESS.
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PERFORATIONS is an online journal devoted to the crossings of technology, critical thought, art, and community and is an aspect of Public Domain, Inc., a non-profit organization located in Atlanta, Georgia.
portal at http://www.pd.org
EYEDRUM Art and Music Gallery is a non-profit organization also located in Atlanta. For more information
go to http://www.eyedrum.org.
eyedrum
suite 8
290 MLK Jr. Dr. SE
Atl, GA USA 30312
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If you are interested in participating, please contact:
Anna Ursyn
Submission dates have been extended.
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IV04
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8th International Conference Information Visualisation
International Symposium on Digital Art, and Online Gallery IV04-Dart
14 - 15 - 16 July 2004
SOAS, University of London
LONDON ENGLAND
http://www.graphicslink.demon.co.uk/IV04/
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CGIV04
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International Conference
Computer Graphics, Imaging and Visualization
26 – 27 – 28 – 29 July 2004
Parkroyal Penang · Penang · Malaysia ·
http://www.graphicslink.demon.co.uk/cgiv04/
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A number of invited speakers and tutorial sessions will review current
state-of-the-art developments and outline future directions. This embedded with the
current research being undertaken in industry and in academia will provide coverage of
the salient aspects and sub-areas of visualisation and graphics. Such work will be
presented in a series of symposia. One of which is the 'DIGITAL ART' symposium.
Authors are invited to send three copies of their extended abstract or the full paper
to the chairperson of symposium.
Papers presenting original research with the theme of 'DIGITAL ART' are being sought.
Suggested topics include (but are not limited to):
* Art and Visualization of Spatial, Tonal, and Temporal Domains: Industry, Academia,
Communication Media
* Oil or Pixel - a Disappearing Distinction. Process (including collaborative efforts)
* Interrelationship between disciplines (Computer Science, Visual Arts, Dance, etc.)
* Visualization as a Non-linear Visual Story Telling: Interactive, Virtual,
Intelligent.
* Programming in Art Challenge and Aesthetic Quality. Print versus Display
* Using Computer to its Fullest Potential for the Artistic Product: Selecting Optimal
Tools
* IT in Visual Art and Culture, Visual Art for IT Visualization
* Digital Art and Visual Learning: Critical and Abstract Thinking, Problem Finding,
Iconic Messages
* Issues in Digital Art: Artistic Quality, Criticism, Perception in the Field,
Classification,
* Copyright (representation through a detail, watermark, resolution)
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IV04 - DIGITAL ART GALLERY Online Exhibition
1 July 2004 - 30 June 2004
http://www.graphicslink.demon.co.uk/IV04/DART.htm
Digital Art Gallery provides a further opportunity to present works of art that
represent how new technology stretches the boundaries of creativity even further. All
the entries for this section encouraged to be submitted with a short paper or at least
a few paragraphs explaining the artwork in not more than two A-4 size pages. Those
with technical, artistic emphasis and accompanied with the image reproductions may be
published in the proceedings under the Digital Art section. The programme committee
will review these entries and it will be presented in a special symposium. The
following themes of display are already envisaged (but not restricted):
Computer Generated Art · Design & Publishing · Digital Photography · Digital
Typography and Calligraphy · Computer Generated Models · Cartography · Fractal Models
· Virtual Art · Art in the Internet
2-D and 3-D Digital work will be exhibited on-line DART Gallery. Further more, we
encourage artist to submit paper for presentation with their art works.
March 31, 2004 submission date
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Dart Advisory, Programme and Review committee:
Robert J. Krawczyk, Illinois Institute of Technology Chicago,USA
Lane Last, University of Tennessee at Martin, USA
Loren Means, YLEM Journal, SF, CA, USA
Andrea Polli, Film and Media, Hunter College, NYC, USA
Cynthia Beth Rubin, Rhode Island School of Design, USA
Rejanme Spitz, PUC University, Rio de Janeiro, Brazil
Chairperson:
Anna Ursyn
REF: Dart04
Department of Visual Arts
University of Northern Colorado
Greeley CO 80639
T: (Int. +1) 970 - 351 - 2426
T: (Int. +1) 970 - 351 - 2299
E: ursyn@unco.edu
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9th Annual Cinematexas International Short Film Festival
International Competition
September 22-26, 2004 in Austin, Texas
http://www.cinematexas.org
Entry deadline: (postmark) May 21, 2004
Late deadline: (postmark) June 4, 2004
Entry fee: $30 ($35/late)
No fee for entries mailed from outside the U.S.
Mail entries to:
Cinematexas
Department of Radio-TV-Film
2504A Whitis Ave. / CMA 6.118
Austin, TX 78712
attention: Anne Reecer
Please do not include a SASE. Entries will not be returned.
Print out attached entry form or visit our website at
http://www.cinematexas.org for a downloadable version.
Since its inception in 1995, Cinematexas has provided a hospitable, diverse
and ever-expanding space for films brave in their brevity. It has
offered to Austin's hybrid landscape of river valleys, desert and
borderland an equally hybrid landscape of locomotive cinema. In
today's era of image proliferation and festival commercialization, we
position ourselves less as a festival than as a place for
contemplation and awe, a spontaneous congregation of visual
cartographers, a mobile home for intimate nomads. JOIN US!
"A film festival with the brain of an art gallery, the soul of a rock
show, and the backbone of an activist collective." - Ed Halter,
Village Voice
The International Competition is open to film and video work produced
in the U.S. after January 1, 2003, and in other countries after
January 1, 2002. Maximum running time is 60 minutes.
Acknowledged as one of the world's foremost short film festivals,
Cinematexas includes a juried international competition (awarding over
$10,000 in cash and services annually), and a separate juried competition of
work by University of Texas film, as well as curated programs
dedicated to exhibiting new work by infectious artists and
retrospectives of seldom-seen work by masters of the short film
format. We also offer four major sidebars, each a mini-festival in
its own right: Parallax View, our explosive media activism
laboratory; Terra Cognita, a series of moving image installations by
established and emerging artists from around the world; Cinemakids,
screenings of youth-made films complemented by free filmmaking
workshops; and Austin Eye+Ear, a concert series featuring some of the
most vital artists working in the field of contemporary music and
performance from around the world.
"The best short film festival in the U.S."
-Leslie Thornton, filmmaker (PEGGY & FRED IN HELL)
In addition to 100 new short films from around the world screened in the
International Competition, last year's programming included a presentation
by Todd Haynes of his own short work; a retrospective of Oskar Fischinger,
one of the most influential film artists of the early 20th century; the
Austin debut performance of veteran punk band The Ex; a presentation
by Joost Rekveld distilling Amsterdam's Sonic Light festival and the
creative possibilities offered by giving musical form to light and
space; a production of playwright Richard Maxwell's "Showcase,"
performed in a room at Holiday Inn; a presentation by activist
journalist Alexander Cockburn; Games Without Borders, exploring the
intersection of cinema, art and video game design; Jean-Pierre Gorin
conducting a free-ranging exploration of Manny Farber's work and
influence, and much more.
Other recent programming includes an in-person retrospective with German
filmmaker Werner Herzog; a screening of shorts by Lithuanian bug animator
Ladislaw Starewicz accompanied by original music performed live by the Tin
Hat Trio; a retrospective of Cuban filmmaker Santiago Alvarez; audio-visual
performances by new media diva Miranda July; a program of shorts curated by
Terrence Malick; the Southwest premier of the Arditti Quartet; the US
premiere of three programs of shorts by Iranian director Abbas Kiarostami; a
retrospective of Robert Frank's short films; a multi-part retrospective of
pioneering experimental cinema by women; the short films of Czech animator
Jan Svankmajer, and a presentation by Jim Jarmusch of his favorite short
films.
"Cinematexas is a festival of great importance in the field of
contemporary arts and media. The choices, openness, inventivity, and
rigorous quality of the selection are unique. It is a Festival of
reference." -Nicole Brenez, Curator of the Experimental and
Avant-Garde programs, Cinémathèque Française
Our competition program is a forum, an ongoing argument, a free zone for
celebrating and exchanging stories, collaborations, and for exposing
audiences to brave and radical forays in cinema. We seek out and reward
films that provoke, expose and explore the short format as a genre in
itself, films that by defiance of tired tropes, stale genres, and vacuous
representation, arduously defend the beauty, social role, and integrity of
the moving image.
"One of the most significant and inspiring festivals in the country."
-Indiewire Magazine
Standing by our firm commitment to disseminate such work, we have
established relations with a growing number of festivals, distributors and
curators worldwide, and have begun to tour work from Cinematexas to venues
and festivals around the world.
Competition jurors have included Peggy Ahwesh (CERTAIN WOMEN), Frank
Beauvais (Programmer, Arte), Ximena Cuevas (DORMIMUNDO), James
Fotopoulos (MIGRATING FORMS), Bill Horrigan (Curator, Wexner Center
for the Arts), Alison Maclean (JESUS' SON), (Cauleen Smith
(DRYLONGSO), Chris Smith (AMERICAN MOVIE), Naomi Uman (LECHE/MALA
LECHE), Caveh Zahedi (I WAS POSSESSED BY GOD), and Gertjan Zuilhof
(Programmer, International Film Festival Rotterdam).
"Anyone who is prepared to discover again and again the laws and
possibilities of a medium from the start, also stimulates the viewer, the
audience and perhaps even culture to return to their roots. Astonishment
can be cultivated in any number of ways." - Edwin Carels, mm2 Experimental
Film in the Netherlands Since 1960, Amsterdam 2004 .
Anne Reecer
Program Director
Cinematexas International Short Film Festival
One University Station A0800
University of Texas
Austin, TX 78712
ph: 512.471.1698
fax: 512.471.4077
anne@cinematexas.org
--
Anne Reecer
Dept. of Radio-TV-Film
One University Station A0800
University of Texas
Austin, TX 78712
ph: 512.471.1698
fax: 512.471.4077
areecer@mail.utexas.edu
CONDUCT - Call for Artists -
'digital interventions into rural environments'
3 residencies in Somerset (UK) for digital/interdisciplinary artists.
Each 3 month (approx) in duration running between May 04 - November 04
£3000 fee. Additional equipment budget provided.
Deadline for applications Monday 19th April.
Somerset (UK) is a rural area with strong craft and performance arts communities, but there is comparatively little contemporary digital work.
We are seeking three digital artists with an ability to innovate and challenge.
Each artist will be placed in one of three Somerset regions, they will be expected to generate a new piece of work(s) in response to the locale that addresses and/or explores the relevance of digital media in rural environments.
After creating and exhibiting (or performing, or installing..) the work they will be expected to facilitate a creative response to their work from the local community.
While seeking artists with a public art track record and an enthusiasm for working collaboratively, we especially welcome applications from artists with cross-discipline practice. We will not recruit those who tread the more derivative paths of community practice. We will favour those artists who share our recognition that digital art does not just mean work that uses computers.
for more information please see
http://www.theengineroom.net
or email conduct@somersetfilm.com
or call +44(0)1278 433187
or write the engine room, 52 high st. , bridgwater, somerset, TA6 3BL
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REDCAT is accepting submissions for original works to be presented in
Studio, Informal Works and Works-in-Progress, a venue for new works
in
dance, theater, multi-media and music by Los Angeles area artists.
Auditioners should present an original work of less than 15 minutes
in length.
The auditions will be held on Saturday, April 17, 2004 and the
performance
will take place on Sunday, May 16, 2004. Visit www.redcatweb.org/
participate/artistopportunities.html for an audition application
form, or contact
Lindsay Hendrickson at 213-237-2816.
The performance will take place at REDCAT's 220-seat theater in
the Walt
Disney Concert Hall. With a straight forward presenting style and
low-tech
vibe, Studio brings the creative process to the stage. Studio will
serve as a
workshop for audience and artist, and feature a range of new work
that
explores the boundaries of contemporary disciplines.
Studio was created to give new artists an opportunity to hone their
skills, as
well as offering established artists a chance to test new material
and works-in-
progress before an audience. The program is curated by a revolving
panel of
two regional working artists.
REDCAT is an interdisciplinary arts center that introduces diverse
audiences,
students and artists to the most influential developments in the
performing,
visual and media arts from around the world, and gives artists and
future
artists in this region the production opportunities and creative
support they
need to achieve national and international stature.
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Gallery Manager
First Street Gallery Art Center, Claremont, CA, invites applications for this
full-time, full benefits position. BFA/BA in art or art history required.
MFA/MA and curatorial, gallery or museum experience preferred. First Street
is an established non-profit community based art center where professional
artists work with artists with disabilities in studio. This position
oversees on-site exhibitions and active art outreach program.
See our website: www.tstonramp.com/~rjhamm
Submit letter of application, current CV, and names and phone numbers of
three references to:
First Street Gallery Art Center
Office of Director
250 West First Street, Suite 120
Claremont, CA 91711
or
Fax: 909 625-3436
phone: 909 626 5455
email: rebecca_hamm@tierradelsol.org
Interviewing now.
3/15/04
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Artists Alliance Inc.(AAI) is pleased to announce the following
opportunities open to visual artists of all disciplines:
1. AAI Lower East Side Rotating Studio Program (LES-RSP/04)
? Two Residency Sessions: June 5, 2004 - November 27, 2004, December 4,
2004- May 28, 2005
2. AAI Lower East Side Long Term Studio Program (LES-LTSP)
? One Long Term Residency: Beginning June 5, 2004
Deadline for application materials: postmarked by May 1, 2004
Applications available at www.artistsai.org
Overview
Artists Alliance, Inc./Alianza de Artistas (AAI), a community based
nonprofit organization, composed of artists from a broad spectrum of
national and artistic backgrounds, is pleased to announce two new sessions
for our Lower East Side Rotating Studio Program (LES-RSP/04) and the
availability of one Long Term Studio at 107 Suffolk Street. Eight artists
will be invited to participate in the Rotating Studio Program, located in
the vibrant and historically significant multi-cultural neighborhood of the
Lower East Side in Lower Manhattan. One additional artist will be selected
to participate in the Long Term Studio Program. The studios are located
within the former PS 160 which has been converted into a vital cultural
center. Selected artists will have the opportunity to interact and engage
with the more than 60 professional resident visual artists who currently
work in the cultural center. This program underscores AAI's mission to
support the careers of emerging and mid-career artists working in all fields
as well as hard-working artists who fall outside the system. It also
addresses issues about the scarcity of space for the production and
presentation of works of art. Lack of workspace threatens the very core of
cultural life in New York City. (Please review contract requirements for
participation as a member-artist in the Long Term Studio Program and for
participation in the Rotating Studio Program). Available at
www.artistsai.org/contract04
Artists Alliance Inc.
Alianza de Artistas
107 Suffolk St., #411
New York, NY 10002
(212)420-9202
www.artistsai.org