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By Southern Oregon Artists Resource, 1975 contributed posts
View all Southern Oregon Artists Resource's posts. About the author: SOAR: The Southern Oregon Artist's Resource is a directory of Southern Oregon artists, artisans and those who serve them and calendar of their art events, and Art Matters!, our blog posting Southern Oregon art events and matters of interest to artists, enthusiasts and patrons of the arts near and far. SOAR was created and is maintained by art advocate and web designer Hannah West in Jacksonville, Oregon to promote our diverse and talented arts community to our visitors and the rest of the world.
Art Deadlines List – February 2019 Edition
Give Love… Give Art!
Public art commissions, art competitions, art jobs and internships, art scholarships and grants and fellowships, residencies, art festivals, call for entries/proposals/projects, and other opportunities, in all disciplines, for art students, art teachers, and artists of all ages, all skill levels, in all disciplines, everywhere. A subscription to the Premium list guarantees you will be the first to view announcements and have access to ALL announcements.
April 02, 2019
ARTISTS MAGAZINE ANNUAL ART COMPETITION Artists Magazine’s Annual Art Competition wants to honor your most outstanding work. If your art is deserving of being celebrated in the pages of Artists Magazine, this competition is for you! $24,000 in cash prizes plus publication in Artists Magazine. Entry Fee. Details:http://bitly.com/2nnyvmA
April 30, 2019 SLOWART PRODUCTIONS | GLOBAL MELTDOWN This call is for a thematic exhibition based on the Global Meltdown Crisis, all aspects of the crisis, be it global, local, personal, environmental, financial, psychological, scientific and/or spiritual. The exhibition will be held at the Limner Gallery, June 14 – July 13, 2019 . Entry is open to all artists working in any media. Entry Fee. Details: http://bitly.com/2VrYF6l
March 04, 2019 CAMERA USA® 2019: NATIONAL PHOTOGRAPHY EXHIBIT $5,000 PRIZE Now in its 9th year, Camera USA® 2019 is a national competition created by the Naples Art Association to inspire and encourage photographers of all skill levels and from all regions of the USA. The exhibit program features 3 professional jurors, one prize of $5,000, five $100 honorable mention awards, and culminates with a photography exhibit in Naples, Florida from June 3 through July 5, 2019. Entry Fee. Details: 239-262-6517 OR https://bit.ly/2Pw7Y1L OR [email protected]
March 06, 2019ANNMARIE’S SALON DES REFUSES: LAST CHANCE SHOW & SALE Modeled after the Parisian Salon of 1862, Annmarie’s Salon des Refuses, or ’exhibition of rejects’, will include works that have previously been turned down by a gallery or show, or just haven’t sold. Let’s give these rejects, underappreciated, and misunderstood works another chance! Entry Fee. Details: 410-326-4640 OR http://bitly.com/2HIDzyu
March 08, 2019TIME JURIED CALL FOR ARTISTS NATIONAL Mills Pond Gallery invites artists to submit works for a juried exhibition May 4 – June 1, 2019. Juried by James H. Rubin, Time seeks visual works that engage the notion of time on some level, whether relating to the concept, the experience, or the evocation of time. The exhibition will accept all visual art mediums except sound and video. Awards: $800 Best in Show, $500 Second Place, $250 Third Place Entry Fee. Details: 631-862-6575 ORhttps://www.millspondgallery.org/calls-for-entry#/new-page-1 OR [email protected]
March 08, 2019THE BIENNIAL OF POSTER BOLIVIA BICEBé® 2019 The Biennial of the Poster Bolivia BICeBé® is the most important international event of design and visual arts in Bolivia and the Southern Cone. More than 15,000 student and professional designers have participated of the activities and from more than 76 countries around the world has been part of the exhibitions, making the BICeBé a true global celebration of design. No Entry Fee. Details: http://bitly.com/2OOrzux
March 08, 2019INSIGHT INVESTMENT ASTRONOMY PHOTOGRAPHER OF THE YEAR 2019 The competition is organized by the Royal Observatory Greenwich, London. There are two competitions: Adult Competition and Young Competition. • The Adult competition is open to anyone aged 16 and over • The Young competition is open to anyone under 16. Entrants may submit up to ten photos. Entries may feature any astronomical subject. No Entry Fee. Details: http://bitly.com/2BfdChn
March 11, 20192019 KREFT JURIED NATIONAL EXHIBITION ‘Permanence and Change’ – To be human is to change. We can explore these themes with depictions in the contrast of the spiritual—one’s relationship to the body or to the phenomena of the physical world. With themes ranging from the decay of atoms to the constancy of love, how can we find ways to recognize and reconcile these two elements of human existence and desire within the visual arts? Entry Fee. Details: 734-995-4610 OR https://www.cuaa.edu/life/kreft-arts-program/gallery.html OR [email protected]
March 13, 2019 ARCXA: THEME OF ARCHITECTURE IN ART Gallery Ten Seven welcomes two-dimensional submissions that feature architecture (built environment) as a subject matter or theme in a variety of forms including painting, digital imagery and collage. Submissions may feature a variety of architecture elements beyond building as object – built, unbuilt or conceptual. Exhibit runs from March 18 through April 15, 2019. Entry Fee. Details: http://bit.ly/gly107c OR [email protected]
March 15, 2019 BOLDPAS: A DAY OF ART & PLAY IN OLD PASADENA Call for Artist Submissions for one-day community art event in Pasadena, CA. Temporary, site-specific installations that utilize upcycled materials and encourage public engagement. Six $750 stipends awarded. Open to LA-area artists, emerging/student artists encouraged to apply. Full Call available on Old Pasadena website. No Entry Fee. Details: 626-356-9725 OR https://www.oldpasadena.org/boldpas OR [email protected]
March 15, 2019 2019 CALL FOR CONTEMPORARY ARTISTS Davis Editions is a contemporary print publisher and online sales platform. We collaborate with today’s leading artists to publish and sell unique limited edition prints. We are currently accepting submissions for our annual call for contemporary artists. The selected artist will be invited to publish a print with Davis Editions. Entry Fee. Details: http://bitly.com/2V0xwHb OR [email protected]
March 15, 2019 ART OF ENGRAVING SCHOLARSHIP Course explores traditional methods used in making medals & coins. All disciplines encouraged to apply; no prior experience in sculptural engraving required. Chosen applicants receive full scholarships for 2 consecutive Seminars. June 15-20, 2019 / June TBD, 2020 Course underwritten by Gilroy and Lillian P. Roberts Foundation, in honor of Gilroy Roberts, 9th Chief Engraver of the US Mint. No Entry Fee. Details: 719-482-9810 OR http://bitly.com/2t6hIH4 OR[email protected]
March 17, 2019 CALL OUT TO ARTISTS FOR FRINGE ARTS BATH FESTIVAL 2019 Inviting Artists & Creatives from across the globe to respond to 18 exhibition & event proposals for FaB19, a 17 day free festival of contemporary visual arts. Free submission. FaB aims to raise the profile of contemporary visual arts in Bath, providing opportunities for early career/emerging Artists, putting art in unusual places in unexpected ways for people to happen across & interact with. No Entry Fee. Details: https://www.fringeartsbath.co.uk/
March 17, 2019 NYC4PA CALL FOR ENTRY MOMENTRUM Though a photograph is a snapshot in time, the world around us is in constant motion. This call is about how you capture the idea of motion/momentum in a single frame; photographs that clearly send a message to the viewer that the subject or the camera/lens is moving. Is the position of the subject the indication – a wave arched to crash, or a ballerina in mid air? See website for complete call Entry Fee. Details: 917-359-2642 OR http://www.nyc4pa.com OR[email protected]
March 20, 2019 DRAGONS MAIL ART EXHIBIT CALL FOR ART Send art for exhibit at ETG Book Cafe, 208 Bay St, Staten Island April 6–27, 2019 (Part of the St George Day Festival) Mail to: Day de Dada, 123 Scribner Ave, Staten Island, NY 10301 provide your name & email. optional submission: email jpg at 100% scale 1650 x 1275_150 dpi daydedada at yahoo.com ALL work received will be sold with sales going to support the St George Day Festival NO RETURNS No Entry Fee. Details: http://daydedada.com OR[email protected]
March 22, 2019 2019 BIENNALE NATIONAL JURIED EXHIBITION Art League of Hilton Head invites you to send your best work. $5,000 in cash prizes. All artwork selected by jurors will be exhibited May 7-June 1, 2019 in Art League Gallery, a state of the art gallery with high tourist and community visibility. Judge is artist Alan Flattmann of New Orleans. Notification April 5. Entry Fee. Details: http://bit.ly/Biennale2019 OR [email protected]
March 22, 2019 XVIII VIDEOMINUTE INTERNATIONAL CONTEST The competition is organized by the University of Zaragoza, Spain. Each participant may submit up to 5 videos (fiction or animation). The video must be no longer than 1 minute (60 seconds). Video can be on any subject. Film must be subtitled in Spanish or in English. No Entry Fee. Details: http://bitly.com/2Bh5xc2
March 25, 2019 DE/COMPOSITION: A NATIONAL JURIED EXHIBITION Awards $1,000 in cash awards. Best in Show receives $500. A national juried exhibition with a focus on things decomposing, being in a state of decay, deconstructed, or paired down. Both the conceptual side as well as technical/ compositional side of the theme will be encouraged. Open to artists working in all media. This exhibition is open to all U.S. residents at least 18 years of age. Application Fee. Details: 315-462-0210 ORhttp://www.mainstreetartsgallery.com/submissions.html OR [email protected]
March 25, 2019 INTERNATIONAL CALL FOR ONLINE ART COMPETITION, ALL CITYSCAPE Contemporary Art Gallery Online announces their 6th Annual International 2019 “ALL Cityscape” Competition. Competition opens February 25, 2019 and closes March 24, 2019. Contemporary Art Gallery Online encourages entries from all 2D and 3D regardless of their experience or education in the art field. A group exhibition will be held. Awards will be given. Winners announced 4/10/19. Entry Fee. Details: 844-210-7722 OR https://tinyurl.com/2019-cityscape OR [email protected]
March 31, 2019 CALL FOR ARTISTS FOR ARTSFEST ’19 FINE ARTS FESTIVAL Join us for our 26th Anniversary – Sept 21 & 22, 10am-5pm both days! Artsfest is an annual juried arts festival held at beautiful Annmarie Sculpture Garden & Arts Center, in Solomons, Maryland, where the Patuxent River meets the Chesapeake Bay. Application Fee. Details: 410-326-4640 OR https://annmariegarden.wufoo.com/forms/26th-annual-artsfest-2019-artist-application OR [email protected]
April 01, 2019 2019 WERGLE FLOMP HUMOR POETRY CONTEST The contest is organized by Winning Writers. You may submit one humor poem, in English. Your poem should not exceed 250 lines in length. You may submit published or unpublished work. No Entry Fee. Details: http://bitly.com/2l8f0zu
April 02, 2019 CALL FOR ENTRIES EBB & FLOW: THE POWER OF WATER Vital to Earth and all known forms of life, water holds awesome powers of creation, destruction, and transformation. This exhibit invites artists to submit works that explore the power, meaning, and majesty of water, from its chemical composition to its economic importance, to its terror and allure. All media welcome; small to large-scale works; indoor and outdoor works to be included in the show. Application Fee. Details: 410-326-4640 ORhttp://bitly.com/2VgaGvA OR [email protected]
April 02, 2019 ARTISTS MAGAZINE ANNUAL ART COMPETITION Artists Magazine’s Annual Art Competition wants to honor your most outstanding work. If your art is deserving of being celebrated in the pages of Artists Magazine, this competition is for you! $24,000 in cash prizes plus publication in Artists Magazine. Entry Fee. Details:http://bitly.com/2nnyvmA
April 05, 2019 LGBTQ REGIONAL JURIED ART EXHIBIT Exhibit runs June 1-30 at Erie Art Gallery. Jurors are Sharon Louden, Artistic Director of Visual Arts at Chautauqua Institution and Hrag Vartanian, editor-in-chief and co-founder of Hyperallergic. LGBTQ artists 18+ years old who reside within 150 miles of Erie, PA are eligible to submit work. CASH AWARDS. Sponsored by Greater Erie Alliance for Equality. DETAILS: ErieArtGallery.com or GreaterErieAlliance.com. Entry Fee. Details: http://www.ErieArtGallery.com ORhttp://www.GreaterErieAlliance.com
April 30, 2019 SLOWART PRODUCTIONS | GLOBAL MELTDOWN This call is for a thematic exhibition based on the Global Meltdown Crisis, all aspects of the crisis, be it global, local, personal, environmental, financial, psychological, scientific and/or spiritual. The exhibition will be held at the Limner Gallery, June 14 – July 13, 2019 . Entry is open to all artists working in any media. Entry Fee. Details: http://bitly.com/2VrYF6l
By Rogue Gallery & Art Center, 125 contributed posts
View all Rogue Gallery & Art Center's posts. About the author: The Rogue Gallery & Art Center is the Rogue Valley’s premier non-profit community art center, founded in 1960 to promote and support the arts in the Rogue Valley. The Gallery offers local artists an opportunity to display their work, and because of its non-profit status can display a wide range of artistic styles and mediums not seen in commercial galleries. Aspiring artists, both children and adults, take classes from local artists and are exposed to a wide variety of artistic mediums. Our mission is to promote and provide for the study, development, exhibition, and appreciation of art. Our vision: Ignite the Mind, Stir the Soul, Open the Heart…Boldly Create! Learn more with web links and contact info in RGAC's listing at SOAR.
RECEPTION: This FRIDAY, Oct. 19, 5:00–7:00PM
UNTITLED:
Bob Bosworth Retrospective Oct. 5 – Nov. 9, 2012
This exhibition spotlights the creativity of Bob Bosworth—artist, architect, former University of Oregon professor, and a founder of the Rogue Gallery & Art Center. Curated by Nancy Jo Mullen, the display features architectural drawings and paintings from Bosworth’s early professional years as well as a series of recently created paintings on paper. This show sheds light on the dynamic career of a highly inventive Rogue Valley artist and architect.Friday, October 19, 7:00pm
An Architect’s Architect:
An illustrated talk that surveys the local architecture projects by Bosworth. Presented by architect John David Duffié. Free to the public.
The long-gone but never forgotten architect Frank Lloyd Wright continues to leave traces of himself to thrill his diehard fans. After the recent restoration of his long-neglected Park Inn hotel in Mason City, Iowa, Wright followers have a book to look forward to: “Frank Lloyd Wright Designs: The Sketches, Plans, and Drawings.”
The Solomon R. Guggenheim Museum in New York, NY / Courtesy of Rizzoli New York
Bruce Brooks Pfeiffer, a former Wright apprentice and the director of the Frank Lloyd Wright Foundation, tapped into the organization’s archives, a vault of more than 300,000 correspondence documents and 22,000 drawings, to put this book together. As a gift to Wright’s fans, he’s published dozens of images of sketches and designs, offering a privileged glimpse into the legend’s visionary intellect through his expressions on paper. Familiar and much-loved dwellings, places of worship, hotels, and more — including Fallingwater, the Coonley House, and the Imperial Hotel — grace its pages. Among the book’s most notable contents are previously unpublished and unfamiliar works, finished with the iconic red square that served as his signature.
In addition to his floor plans, renderings, and wayside doodles in the margins of other books, the pages disclose a detailed history of his life: his birth; his praise for Solomon R. Guggenheim, indicating a deep admiration; his unrealized dreams of building the the mile-high Illinois skyscraper; and his inspiration for the rug he designed to match the house he built for his son, among myriad other details.
Rizzoli releases “Frank Lloyd Wright Designs: The Sketches” this October.
I’ve always enjoyed watching architects dabble in a myriad of creative disciplines. Leonardo da Vinci was an architect, painter, musician, and more. Le Corbusier was an architect and watchmaker. Recently, we’ve seen celebrity designers David Rockwell, Santiago Calatrava, and Jacques Herzog and Pierre de Meuron take an interest in set design for theater. And most recently, Rafael Viñoly, one of the world’s most renowned architects today, takes center stage, yet again, at Bard SummerScape for the Festival’s first fully-staged production of Richard Strauss’s opera, Die Liebe der Danae. Viñoly, a lover of classical music and opera his entire life, is a musician in his own right. He was born in Uruguay in 1944. His father was a director for the National Opera in Uruguay. Viñoly studied piano from an early age and continues to play regularly. It wasn’t until he was a teen that he decided to forgo a career as a musician and pursue architecture. His talent and skill-set has allowed him to touch on a wide spectrum of project typologies, in particular, to work as a stage designer, albeit in just a handful of instances. I was fortunate enough to have an opportunity to speak with Rafael about his design for Die Liebe der Danae.
Rafael Viñoly portrait. Photo courtesy of Rafael Viñoly Architects.
Jacob Slevin: Please describe your design for the set of Richard Strauss’s opera, Die Liebe der Danae, in fewer than 160 characters. Rafael Viñoly: A series of large scale photographic collages move through the stage to define specific spaces and create a cinematic character to the story. The images make reference to the the contemporary setting of the never-ending tale of love and money. Jacob Slevin: When designing theater sets, how does your process possibly differ from more typical architectural assignments? Rafael Viñoly: They are completely different processes. Architecture is defined by the specific conditions of each job. Designing for the stage is completely un-specific, in fact, it is about the undetermined, the impermanent, the suggestive. The process is therefore much more open ended, much more collaborative. Jacob Slevin: Architecture and Opera are both disciplined arts. How do you see your art form complimenting the musical components, and vice versa? Rafael Viñoly: Architecture and opera are different kinds of disciplines. If what you are referring to is how the visual and the musical interrelate, in opera that relationship is the essence of the art form. The connection is one, in my view, of clear dominance of the musical, not only because it preexists it, but also because it’s the conducting line of the emotional content. Think of the difference between the role of music in a film or even in the musical theater. They are always atmospheric relative to the image. In opera, the stage is atmospheric and the music is central, not a vehicle for the story… it is the story.
Photo courtesy of Rafael Viñoly Architects.
Jacob Slevin: Photography and perspectival ownership appear to be substantial tools you deploy for the set design. Can you please elaborate on these elements. Rafael Viñoly: Not always–I don’t think that photography is such a useful tool for me when thinking about a stage design, but perspective, as in depth, is definitely the sacred grail. The stage is a picture frame and it tends to flatten the space. I am interested in braking that plane because it brings the audience into it, making the participatory nature of a live performance much more compelling. Jacob Slevin: What is the most meaningful design moment you’d hope people in the audience see and notice? Rafael Viñoly: I think that the visual setting in an opera is a support to appreciate the music. There are moments in which a clue, a color, a movement makes the singing voice more intense, more sublime or more dramatic. The voice is ultimately the gift we receive from the composer. — Jacob Slevin is the CEO of DesignerPages.com and the Publisher of 3rings.
When is a designated landmark really a landmark and what are the limits of protection? When is the alteration of a landmark for a new use so extensive as to render the designation pointless? And if a building is worthy of such an honored status that often brings with it tax credits for its restoration, how far can the cause of adaptability be stretched?
Ever since the battle over the future of 2 Columbus Circle, these questions have taken on greater significance. The refusal of the Landmarks Preservation Commission to consider landmark status for the 1964 12-story museum designed by Edward Durell Stone is considered by preservationists as the “Penn Station of Modernist Preservation.” Appreciation for the enduring value of mid-century modern architecture has been growing ever since and the number of advocates for preservation of that not-too-distant era has increased as well.
Now comes the case involving the 1954 Manufacturers Hanover Trust Bank at 43rd Street and Fifth Avenue, designed by one of the 20th century’s most notable architects, Gordon Bunshaft of Skidmore, Owings & Merrill.
No more iconic building represents the Modernist era in New York City than this five-story glass box. Some are bigger and taller, others more famous, but none are more transparent or important. This little jewel speaks as well as any of them to the famed era of Mies Van der Rohe when “less is more” was the design rule of the day and Bunshaft was the city’s leading practitioner.
Not anymore. Both the interior and exterior have been effectively destroyed, with the approval of the Landmarks Preservation Commission. Just designating a lot of buildings is not a great accomplishment if honoring that designation does not follow.
This Landmarks Commission does not designate interiors lightly and rarely without an owner’s consent. But recently the Commission designated the bank’s interior with the consent of the new owner, Vornado, who is converting it to a big box retail store. Is yet another ho-hum big box retail store more important than a singular landmark, even if owned by one of the city’s most powerful developers?
In its designation report, the commission cited as important the very elements it then permitted to be irrevocably altered, rendering the designation meaningless. The interior sits completely gutted — totally taken apart, apparently with the commission’s approval, raising the obvious question: when is a landmark really a landmark?
A state Supreme Court judge last week halted at least temporarily the renovation of this landmark, raising anew all these questions, especially how much alteration is permissible before a designation is rendered meaningless.
Only the exterior of the five-story, transparent, all-glass 1954 bank — originally Manufacturers Hanover Trust and then Chase Manhattan — was designated an exterior landmark in 1997, even though, as Ada Louise Huxtable has noted, “the exterior and interior were conceived as one thing, unified and inseparable, to be seen and understood as a continuous visual, spatial and aesthetic experience.”
What could be the justification for destroying the unique interior features singled out in the Commission’s own designation report? The celebrated stainless steel vault door designed by Henry Dreyfuss and its black granite exterior are gone with only the vault door and sliver of granite to be reinstalled; the Fifth Avenue facade, an “uninterrupted expanse of clear glass” so notable for its pure expression of modernism, will now be destroyed by two planned entrances inserted to replace the discreet 43rd Street entrance; the “twin escalators” running north/south, paralleling the avenue and giving pedestrians a view of people seemingly floating up and down will be replaced by escalators running east/west to service two separate stores divided by a previously non-existent wall undermining further the open, airy, minimalist interior. The mixed-metal 70-foot by 16-foot screen by famed modernist designer Harry Bertoia is gone as well. The exterior is fundamentally altered by the rearrangement inside. Transparency from the street meant everything.
What will be left? It is hard to tell. Final working drawings apparently have not yet been submitted. But the “luminous ceiling” is due to be restored with all sorts of new insertions. The eight marble-clad piers that held the mezzanine in a floating-like position are being strengthened along with the mezzanine, providing the ability (not yet requested but expected eventually) to build a tower over this diminutive gem.
By the commission’s own standard alterations to a landmark should be reversible, but it is a challenge to see how that would be possible. Ironically, this building interior survived undesignated with few incursions until designation opened the floodgate to major alterations. No such dramatic adjustments would even be attempted for such eminent bank interiors as Central Savings Bank at 72nd and Broadway or the Williamsburgh Savings Bank in Brooklyn. And for other modernist interiors, such as Seagrams and Time Life, or for the Art Deco Empire State Building, commissioners hardly let a concierge desk be changed without fierce attention to the integrity of the building.
This celebrated masterpiece could have been so creatively adapted to distinguish any new retail space from yet another ordinary big box container. The historic bank vaults, now restaurants, at Cipriani’s Wall Street, Trinity Place or Bobby Van’s Broad Street are successful models. Traditionally, New York department stores had notable eateries drawing customers to their space.
Stripping a landmark of the character that makes it special or letting one serve as a pedestal for a new tower contradicts both the spirit and substance of New York’s Landmarks Law, once a model for the country. This is tantamount to de-designation.
Roberta Brandes Gratz is a former New York City Landmarks Commissioner and author of the recently published, The Battle For Gotham: New York in the Shadow of Robert Moses and Jane Jacobs (Nation Books).
The origin of the building of 8 rue Jean Goujon is the essence of a French Maison ( traditional house). In 1864, the Duchess of Rivoli, Princess of Essling, Great Mistress of the House of Empress Eugenie purchased the land to have her house conceived by French architect Jules Pellechet. The masterpiece was completed in 1866 in the purest classical Parisian style,” hausmannien.” The property was later bought by the Association of the Centraliens to welcome the activities of the alumni association of the Paris Ecole Centrale.
In 1969, La Maison des Centraliens has been enlarged to become a hotel.
In 2010, La Maison Champs Elysees commissioned Maison Martin Margiela to redesign and reconceive a big part of the hotel. For its first hotel project in Paris, Maison Martin Margiela creates a theatrical environment where realty and trompe-l’oeil are mixing together. The results are several sets with intertwined references giving an atypical ambiance harmoniously opposing past and present.
“Together with Maison Martin Margiela, we are aiming at a luxurious yet relaxed place where minimalism of forms is matched with amazing details,” says Bernadette Chevalier, president of Exclusive Hotels for Maison Champs-Elysees.
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