Clatsop Community College in Astoria, Oregon, announces the 2016 International Juried Exhibition, Au Naturel: The Nude in the 21st Century, and invites entries. This special tenth anniversary show will be held in honor and memory of Royal Nebeker, internationally renowned artist and beloved instructor who taught at CCC for over 30 years and who served as the first juror for the competition. The 2016 Au Naturel exhibit will open on Thursday, January 21, 2016 and continues through March 10, 2016.
The Au Naturel competition is open to all artists working in any two dimensional drawing, painting, or printmaking medium with a focus on the nude human figure as subject matter in any form from representational to abstract, and in which the handmade mark is employed as the primary means of image-making. Entrants must be 18 years or older, and submitted artwork must have been executed in the last three years and available for the duration of the exhibit. Due to the special focus of the exhibit, any artwork reproduced by photomechanical processes (including giclée prints) will not be accepted. Visit the exhibit website, www.aunaturelart.com, to view artwork from previous Au Naturel exhibitions and for further information about the show.
Applications are now being accepted online using the CaFÉ™ website, www.callforentry.org.
Applications must be received on CaFÉ™ by Midnight (11:59:59 pm) Mountain Time, Saturday, November 7, 2015. There is no additional fee to use the CaFÉ™ online application system. Enter and register a username and password. Navigate to Apply to Calls, and search the list for Au Naturel: The Nude in the 21st Century. The site also provides detailed instructions for use. There is a $40 fee for the submission of up to three images, and $5 for each additional image submitted.
2016 exhibit awards will include $1,000 in cash prizes and up to $2,000 in purchase awards. A select number of Visiting Artist Workshop awards will also be granted. Additionally, one artist will be chosen to be featured in a solo show for the following exhibition season (2016-2017) at the Clatsop Community College Art Center Gallery.
For a prospectus, send a SASE to Au Naturel International Juried Exhibition c/o Kristin Shauck, Clatsop Community College, 1651 Lexington Avenue, Astoria, OR 97103 or download it from the Au Naturel website, www.aunaturelart.com.
Lisa Harris, owner and director of Lisa Harris Gallery in Seattle, is the juror for Clatsop Community College’s 2016 International Juried Exhibition Au Naturel: The Nude in the 21st Century.
Serving as juror for the 2016 exhibit is Lisa Harris, the Director and Owner of Lisa Harris Gallery in Seattle, WA. The gallery, which represents thirty Northwest and West Coast contemporary artists including Royal Nebeker, has been presenting rotating exhibitions for the past 31 years. Harris is a founding member of the Seattle Art Dealers Association and a member of Art Table, the national organization of women in the visual arts.
Harris received a Bachelor of Arts in Art History with Highest Honors from Williams College in 1975 and studied at the University of Paris (Sorbonne) from 1973 to 1974. She earned an M.B.A. in Arts Management from the University of California at Los Angeles (now the Anderson School at UCLA), and during that time did an internship at the Oakland Museum where she focused on strategic planning. From 1979 to 1980 she was Assistant to the President of Cornish Institute (now Cornish College of the Arts) for which she curated an historic American-Soviet exhibition. Faculty at Cornish and a similar art institute in Vladivostok (then a “closed” city) provided work for joint exhibitions that took place in Nakhodka and Seattle.
Before founding her own gallery in 1984, Harris served as Director of Pioneer Square Gallery where she collaborated with other galleries to firmly establish Seattle’s First Thursdays. She has served as a juror for organizations such as Gage Academy, Women Painters of Washington, Edmonds Art Festival, Eastside Fine Art Association, and Artist Trust (The Artist Innovator Award). Last year, Harris co-curated the exhibition, John Cole: A Historical Perspective, at the Museum of Northwest Art.
For more information, contact Kristin Shauck, 503-338-2472 or [email protected].
Attached Image: Lisa Harris, owner and director of Lisa Harris Gallery in Seattle, is the juror for Clatsop Community College’s 2016 International Juried Exhibition Au Naturel: The Nude in the 21st Century.
Southern Oregon Society of Artists
Monday, July 27, 7pm
Program Members Art Critique, Stefan Baumann, Juror
Medford Library 205 S. Central Ave
Free, open to public
Illumination of Mt Shasta from Tule Lake, oil painting by Stefan Baumann, acclaimed landscape and wildlife artist, juror at Southern Oregon Society of Artists critique Monday, July 27, 2015.
Southern Oregon Society of Artists will show their work for critique on Monday, July 27, at the Medford library with Stefan Baumann as juror. The public is invited to attend. Critique participation is open only to current members of the Southern Oregon Society of Artists (SOSA). Refreshments will be provided.
Mr. Baumann, an artist for 35 years, is also the creator of the PBS series, “The Grand View: America’s National Parks Through the Eyes of an Artist” featuring more than 20 parks. He teaches oil painting at Central Art Supply in Medford on Thursdays and from his studio at Grand View Ranch in Mount Shasta. Information and image galleries of his work can be found at stefanbaumann.com
Fort Howard, Rear View, oil on panel, Matt Klos
Jim Hall has a great selection of previously exhibited work on the walls at Oxford Gallery this summer in a show titled “Reprise“. Some of my favorite paintings from previous shows are on view, as well as many I overlooked. The one above, a small work from Matt Klos, came from the series he did of scenes in Baltimore’s Fort Howard.
The artist’s reception at the 79th Butler Midyear Exhibition at the Butler Institute of American Art is this Sunday afternoon. The collector who bought the painting and loaned it to the museum for the exhibition pointed out to me yesterday that they featured it on their page announcing this year’s show. I’m honored. I wish very much that I could attend on Sunday but I have a previous engagement.
I’m down with Opie. Yeah, you know me.
It’s July and I’m fishing for ideas by producing a lot less of everything than usual. I’ll be back. (In August.) Those are nice Chuck Taylors on Ron Howard. The high tops back then weren’t as high as they are now.
I’m in California for a week with my family, but I thought I would pass this notice about a show back home along, something I’d like to see when I get back next week. Artists include: Betsy Lee Taylor, Jean K Stephens, Cathy Chin, Lanna Pejovic , Denise Heischman , Bob Dorsey, Carol Acquilano, Kathryn Bevier, Gloria Betlem, Alan Singer, Gail Thomas, Amy Stummer, Robert Heischman, Jane O’Donnell, Rebecca DeMarco, Bill Stephens, Jim Mott, Phyllis Bryce Ely, Paula Crawford and more.
This is an exhibition of “plein air” paintings and drawings by regional and national artists invited to submit art all summer long in an ever changing exhibition. Works will be framed or presented unframed and may even reflect unfinished sketch states as well as fully finished.
The exhibition is designed to encourage artists to get out and paint and present their work without the usual formality and cost of showing.
The gallery will accept new works from our invited artists each Thursday for the duration of the show and so it will “organically grow” throughout the season.
For more information please contact Denise Heischman or Mary Reakes at:
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Mill Art Center & Gallery
61 North Main St.
Honeoye Falls, NY 14472
From the Sad Stuff on the Street blog.
Sad stuff on the Street.
After my last show at Oxford, I decided to tackle the most ambitious painting I’ve ever done. It’s another in the series of tabletops I’ve been doing for a long time–I did the first one, back in the 90s. Why I keep returning to the format isn’t entirely clear to me, other than to say I don’t feel I’ve exhausted the rewards this template, with its unusual downward-looking perspective, a literally bird’s-eye view of a tabletop. What’s unusual, this time, is how long I expect to work on the painting. First, I’m going to spend more time on each part of this painting than I have before, developing the image as slowly as it requires, so that every element gets as much attention as all the rest. I’ve already put about six weeks into it and don’t expect to be done until the fall, partly because the summer always pulls me away from the easel for several weeks every year, but mostly because it’s a set of complex objects requiring gradual, painstaking development. While I’m doing it, I’m going to try to clarify to myself how and why I started doing this sort of image, why it allowed me to absorb certain influences and incorporate them into my own work, and what sort of meaning the images seem to have, even though I have been creating them simply as a way of addressing formal challenges, not conceptual ones. My blog output is likely going to lighten up since my energy goes first to this painting, and hopefully some small ones I’ll be able to do along the way as I finish this. That’s Poppy, the newest member of our clan, peeking out at you from inside my iPhone.
The Doge’s Palace, John Ruskin
There’s an interesting overview of how John Ruskin took the perception of beauty as a foundation for social reform here. His drawings are exceptional; the ones of Venice remind me of Canaletto. I’m not sure I share his view of beauty and his passion for reform: the perception of ugliness often means you aren’t seeing what’s actually there. There’s delight in reading Salinger’s catalog of a medicine chest’s contents in Franny and Zooey, but I doubt it would have passed the Ruskin test for beauty. But he seemed to value the act of paying attention as the root of what’s good in life, and art was a way of practicing it.
So Ruskin thought it helpful for us to observe and be inspired by nature (he was a great believer that everyone in the country should learn to draw things in nature). He wrote with astonishing seriousness about the importance of looking at the light in the morning, of taking care to see the different kinds of cloud in the sky and of looking properly at how the branches of a tree intertwine and spread. He took immense delight in the beautiful structures of nests and beavers’ dams.