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Art Deadlines List Fall 2018

Art Deadlines List.

December 03, 2018
SPLASH 21 COMPETITION In painting, mood is the general atmosphere, state of mind or emotion that a work of art evokes. Artists have many compositional elements at their disposal for creating mood and drama in their paintings–from value and light, to color, to perspective and depth. Every painting strives to capture some sort of mood, whether it is disturbing or tranquil, melancholy or energetic. Entry Fee. Details: http://bitly.com/2wPDCzU

October 31, 2018
SLOWART PRODUCTIONS | EMERGING ARTISTS 2019 SlowArt Productions presents Emerging Artists 2019, the 27th annual competition for exhibition and Artist of the Year Award. Open to all artists working in any media. This event is devoted to the discovery, introduction and promotion of Emerging Artists. The exhibition will be held February 27 – March 23, 2019, at the Limner Gallery. Entry Fee. Details: http://bitly.com/2wYpkPW OR [email protected]

October 28, 2018

50 WORD HORROR STORY HALLOWEEN CONTEST Must be a high-quality horror story. Must be 50 words or under. Your story will be also placed on a tile and shared on our social networks. We will announce the winners on Halloween Night in our movie and chat. Winner receives $500. No Entry Fee. Details:http://bitly.com/2QxonDT

 

October 31, 2018

COUCH SURFING RESIDENCY Free rent in exchange for 20-30 hours/week collaboration on organically-developed project series based on a mutually-agreed-upon theme or motif. Applicants must have solid experience in at least two of the following: 1) writing, 2) flat art, 3) photography/film, 4) performance, 5) installations, 6) set design, 7) assemblage, 8) costume design. No Entry Fee. Details: 206-327-8777 OR [email protected]

 

October 31, 2018

ICELAND WRITERS RETREAT The Iceland Writers Retreat is an event comprised of a series of small-group writing workshops and cultural tours designed to introduce participants to Iceland’s rich literary heritage. The winning candidate(s) must demonstrate that s/he does not have the financial means to attend the conference without this award. Entry Fee. Details: http://bitly.com/2PM6kcL

 

October 31, 2018

PLOUGH INTERNATIONAL POETRY PRIZE First prize £1000 in each category. Second prize £500 in each category. Third prize £250 in each category. Categories are open poetry and the short poem. Maximum length, excluding title and any blank lines: Short Poem – ten lines, Open Poem – 40 lines. Entry Fee. Details:http://bitly.com/2u1EN0E

 

October 31, 2018

LOEWE CRAFT PRIZE 2019 The LOEWE Craft Prize seeks to acknowledge and support international artisans of any age (over 18) or gender who demonstrate an exceptional ability to create objects of superior aesthetic value. All entries should fall within an area of applied arts, such as ceramics, bookbinding, enamelwork, jewellery, lacquer, metal, furniture, leather, textiles, glass, paper, wood, etc. No Entry Fee. Details: http://bitly.com/2OPoXN0

 

October 31, 2018

CARPETVISTA DESIGN COMPETITION 2018 The competition provides you the opportunity to design carpets. The winning designs will be produced in a limited edition and sold exclusively on CarpetVista. Do you have an inner designer waiting to be discovered? 
As a designer you can win not only fame and fortune, but also your carpet being produced and sold on carpetvista.com. No Entry Fee. Details: http://bitly.com/2OQ4hEz

 

October 31, 2018

CALL FOR ARTISTS Monterey Peninsula College Art Gallery hosts six exhibits each year, showing contemporary art in all media. Six shows per years. At may be for sale (20% gallery commission). Artists are exhibited in pairs, groups, and solo. MPC Gallery is reviewing exhibition proposals for exhibits in the 2019 – 2020 academic year. Open to U.S. residency. All media. Limit 10 images. $25. Call (831) 646-3060. Application Fee. Details: 831-646-3060 OR https://www.mpc.edu/academics/academic-divisions/creative-arts/art-gallery OR [email protected]

 

October 31, 2018

SLOWART PRODUCTIONS | EMERGING ARTISTS 2019 SlowArt Productions presents Emerging Artists 2019, the 27th annual competition for exhibition and Artist of the Year Award. Open to all artists working in any media. This event is devoted to the discovery, introduction and promotion of Emerging Artists. The exhibition will be held February 27 – March 23, 2019, at the Limner Gallery. Entry Fee. Details: http://bitly.com/2wYpkPW OR [email protected]

 

November 01, 2018

JOHN STEINBECK AWARD FOR FICTION Reed 152 is an open-themed issue. All works should be stand-alone short stories, not chapters of a longer work. Editors read all fiction submissions of up to 5,000 words. One winner will receive $1,000 and publication. Entry Fee. Details: http://bitly.com/2v2NZiK

 

November 01, 2018

INTO THE VOID FICTION PRIZE First Place: $1,000 and publication on the website and in a print issue of Into the Void. Second Place: $100 and publication on the website and in a print issue of Into the Void. Third Place: $100 and publication on the website. Stories must be a maximum of 5,000 words. This contest is open to writers based anywhere in the world. Entry Fee. Details: http://bitly.com/2POvure

 

November 01, 2018

AMERICAS 2019: PAPERWORKS JURIED COMPETITION CALL FOR ENTRIES – Works in any medium, on or of paper, traditional or experimental, including photographs. Cash and purchase awards, solo exhibit for best of show. Juror: Marco Hernandez, Wichita, KS. Prospectus on website or write: Americas 2019: Paperworks, Northwest Arts Center, 500 University Ave W, Minot, ND 58707. Entry Fee. Details: 701-858-3264 OR http://bitly.com/2NIkUVr OR [email protected]

 

November 02, 2018

26TH SAN DIEGO LATINO FILM FESTIVAL INTL POSTER COMPETITION This Poster Design Competition is organised by the Media Arts Center San Diego, producer of the San Diego Latino Film Festival. Submit an iconic design that captures the essence of our annual celebration of Latino film, music, and art for a chance to be the face of the festival. Computer graphics, as well as paintings, may be used to compose the design. Poster design must be submitted online. No Entry Fee. Details:http://bitly.com/2LceEzH

 

November 03, 2018

2018 6X6 CALL FOR ART Las Laguna Gallery is now accepting original submissions of 6 X 6 artwork. There are no restrictions on content, style, medium or context, but your entries should fit this theme, either traditionally or digitally, in some way. We invite and encourage artists of ALL ages to participate and look forward to viewing your work. For this exhibition, all pieces must be 6 X 6 to be considered. Entry Fee. Details: https://www.laslagunagallery.com OR [email protected]

 

November 04, 2018

NATIONAL OIL AND ACRYLIC PAINTERS SOCIETY ONLINE EXHIBITION The NOAPS 28th Annual Fall International Online Exhibition is open to all artists anywhere in the world 18 years and older. NOAPS membership is not required for this show. All paintings must be original works in oil or acrylic paint and must not have been juried into any previous NOAPS show, including the two Best of America Shows. $2100 in Cash Awards and 20 non-monetary Awards of Recognition. Entry Fee. Details: 226-246-7607 OR https://www.noaps.org/ OR [email protected]

 

November 05, 2018

CALL FOR ARTISTS FOR ART COMPETITION, ALL SPORTS/ATHLETICS Contemporary Art Gallery Online Announces a Call for Artists to Participate in the ALL Sports/Athletics Art Competition. CAGO encourages entries from all 2D and 3D artists regardless of their experience or education in the art field. A group exhibition of all entrants will be held online at Contemporary Art Gallery Online from November 6th, 2018 to December 3rd, 2018. Entry Fee. Details: 844-210-7722 ORhttp://tinyurl.com/2018-all-sports OR [email protected]

 

November 05, 2018

VALDOSTA NATIONAL 2019 The Valdosta National 2019 presents the best in contemporary art nationally in an all-media competition. Hosted by the Valdosta State University Dedo Maranville Fine Arts Gallery in Valdosta, Georgia, 2019 will be our 31st year. Awards: $1,500.00. Exhibition: January 22-February 8, 2019 Entry fee: $35 for 3 artworks.Juror & Judge Michael McFalls, Professor of Art at Columbus State University. Entry Fee. Details: 229-333-5835 OR https://bit.ly/2NRAHOs OR[email protected]

 

November 05, 2018

THE MUSE AND THE MARKETPLACE SCHOLARSHIPS We at GrubStreet offer numerous partial need-based scholarships – for general audiences, for writers doing great work in the literary community, and for writers from historically marginalized backgrounds. No previous publication or MFA required, and there is no application fee. No Entry Fee. Details: http://bitly.com/2QxJsOB

 

November 05, 2018

INTERNATIONAL COMPOST AWARENESS WEEK 2019 POSTER CONTEST The 2019 ICAW theme, “Cool the Climate – Compost!” recognizes the connection between soil health and the climate. Soil plays an important role in our environment. Healthy soil is at the heart of planetary, agricultural and human health. This year’s theme highlights that soil management practices with compost is key to soil health and migrating climate change. No Entry Fee. Details: http://bitly.com/2Lerihy

 

November 07, 2018

CALLING ALL ARTISTS! ART TAKES MIAMI X SCOPE 2018 Calling all artists. You are invited to submit your work for a chance to win a $10,000 cash award, including a $5,000 production allowance for the show at SCOPE Miami Beach and a $5,000 grant. The Grand Prize Entrant and his/her work will be presented at SCOPE Miami Beach (December 4 – 9, 2018) alongside the top players in the art, fashion and photo worlds. Application Fee. Details: https://www.see.me/art-takes-miami OR[email protected]

 

November 08, 2018

PORTRAIT SOCIETY OF AMERICA’S 2018 MEMBERS ONLY COMPETITION This competition is open to all Portrait Society members. Featuring five unique categories: Commissioned Portrait, Non-Commissioned Portrait, Out of the Box, Animals as the Subject, and Still Life. Awards for each category, First Place winners receive either complimentary tuition to annual conference or museum quality Sargent palette. Winners receive recognition in print and online publications. Entry Fee. Details: 850-878-9996 OR http://www.portraitsociety.org

 

November 09, 2018

LUIS VALTUEñA INTERNATIONAL HUMANITARIAN PHOTOGRAPHY AWARDS The photographs must narrate or tell a story related to these topics: humanitarian action, international cooperation, social exclusion, human rights violations, armed conflicts, natural disasters, refugee and immigrant populations or socially excluded groups. No Entry Fee. Details: http://bitly.com/2u1aQ0N

 

November 09, 2018

RADIUS250 2019 artspace gallery presents our 8th biennial regional juried exhibition, open to artists 18 or older within 250 miles of Richmond, VA, working in 2 or 3 dimensions, or digital & video mediums. Fri, March 22-Sun, April 21, 2019. PRIZES. UP TO $1000 and a solo exhibition in artspace’s Helena Davis Gallery awarded by our juror, Eric Walton, Dir. Walton Gallery, 17 N Sycamore St, Petersburg, VA 23803 Entry Fee. Details: 804-232-6464 OR http://artspacegallery.org/radius250 OR[email protected]

 

November 10, 2018

LINUS GALLERIES | FLOWER POWER Flowers surround us and give us beauty in life. Their delicate nature makes us realize the fragility of life as well. They are interpreted in a plethora of botanical art throughout art history. Your perspective of flowers or all flora, including non-flowering plants, can tell us how you perceive floral life. In Flower Power, we want to see the artist’s view of flowers. Entry Fee. Details: http://bitly.com/2PhVHBP

 

November 11, 2018

NYC4PA CALL FOR ENTRY BLACK AND WHITE 2018 As photographers we know about the dramatic change in photography that came about when color film was introduced. For both portraits and scenics hand coloring was no longer necessary and over time color images joined black and white as fine art. This call is NYC4PA’s homage to those images where all the emotion, texture and beauty are expressed in shades of Black and White. Entry Fee. Details: 917-359-2642 OR https://nyc4pa.com OR[email protected]

 

November 12, 2018

THE ART OF BUILDING 2018 The Art of Building photography competition is an international showcase for the very best digital photography of the built environment. It is a competition that celebrates buildings and the relationship people have with the built environment. No Entry Fee. Details: http://bitly.com/2xDTSCw

 

November 13, 2018

$5,000 IN GRANTS FOR ARTISTS | JURIED BY LEADING CURATORS The Hopper Prize is offering a series of unrestricted cash grants to individual artists awarded through an open call art competition — 5 artists will each receive $1,000 + 30 artists will have their portfolios archived at hopperprize.org + all submissions will be considered for potential Instagram features @hopperprize. Winners will be selected by leading contemporary art curators. Entry Fee. Details: https://hopperprize.org/

 

November 15, 2018

“BLUE” CALL FOR ENTRY ONLINE ART SHOW THEME- “BLUE” This color is symbolic for many different things and emotions. It is most commonly associated with harmony, faithfulness, confidence, distance, infinity, the imagination, cold, and sometimes with sadness. PAY IT FORWARD- We will be donating 10% of all entry fees from this show to Natural High. MEDIA- 2D ENTRY FEE- $20 for 1 or 2 pieces AWARDS- Cash prizes will be given. Entry Fee. Details:https://www.colorsofhumanityartgallery.com/Blue-2018/Blue-2018-Prospectus-and-Entry/n-55TknF OR [email protected]

 

November 16, 2018

2ND INTL. PHOTOGRAPHY CONTEST “ECONOMY AND CRAFTS” The competition is organized by the Central Bank of the Republic of Turkey. ‘Economy and Crafts’ is the theme of this year’s competition. Each entrant may submit a maximum of 4 images. No Entry Fee. Details: http://bitly.com/2JPIqtv

 

November 18, 2018

YOSEMITE RENAISSANCE 34 CALL TO ARTISTS The Yosemite Renaissance Exhibition offers artists inspired by Yosemite and the Sierra a unique opportunity to promote their work. Subject matter must be related to the landscape, environment, wildlife and people of Yosemite National Park and the California Sierra Nevada region. $5,000 in cash awards. Entry is through SmarterEntry.com on the web. Application Fee. Details: 559-683-5551 OR https://www.yosemiterenaissance.org OR[email protected]

 

November 20, 2018

THE METRO PHOTO CHALLENGE 2018 The Metro Photo Challenge 2018 is arranged by Metro International Licensing S.A. together with local Metro subsidiaries around the globe. To be a part of Metro Photo Challenge 2018 you need to upload at least one photo in any of the three categories: 1. Happy 2. Hope 3. Sad and/or Angry No Entry Fee. Details: http://bitly.com/2PiGGj8

 

November 27, 2018

PHOTOGRAPHIC CALL FOR ENTRY “BLACK/WHITE” black/white: charcoal/snowy, onyx/ivory, pitch/clear, ebony/alabaster, coal/pearly …. Juror for “black/white” will be Jennifer Schlesinger, artist and owner/director of Obscura Gallery in Santa Fe. Prizes and awards totaling $825. Entry Fee. Details: 512-422-4080 ORhttps://asmithgallery.com/main-gallery-call-for-entry OR [email protected]

 

November 28, 2018

EXPO 38 b.j. spoke gallery’s annual competition will be judged by Erica Cooke, Research fellow, Museum of Modern Art Department of Painting and Sculpture. Winners will participate in a one month show at b.j. spoke gallery in Huntington, NY, March, 2019. Artists may submit up to 6 images and/or 2 short videos. All fine arts media acceptable. Entry Fee. Details: 631-549-5106 OR http://bitly.com/2zUgfI4 OR [email protected]

 

November 29, 2018

ANDREU WORLD CONTEST 2018 The contest is organized by Andreu World company. In order to participate in the contest, each participant must design an item of furniture (seat or table). Please read the product briefing. The following material You must submit: – a model (scale 1:5); – a technical report; – CD or USB with drawings, plans, sketches. No Entry Fee. Details: http://bitly.com/2oo8MKu

 

November 30, 2018

16TH ANNUAL SMITHSONIAN.COM PHOTO CONTEST What does an award-winning photograph look like? It can range from an captivating portrait of a family member to a moon-drenched landscape to movement captured at just the right time. Our 16th Annual Photo Contest is now open for submissions, and we’re looking for the best of the best. There are 6 categories. No Entry Fee. Details: http://bitly.com/2vJcrJO

 

December 03, 2018

SPLASH 21 COMPETITION In painting, mood is the general atmosphere, state of mind or emotion that a work of art evokes. Artists have many compositional elements at their disposal for creating mood and drama in their paintings–from value and light, to color, to perspective and depth. Every painting strives to capture some sort of mood, whether it is disturbing or tranquil, melancholy or energetic. Entry Fee. Details: http://bitly.com/2wPDCzU

 

December 07, 2018

7TH ANNUAL INFECTED BY ART IMAGINATIVE REALISM COMPETITION We offer $3,000 in cash prizes as well as publication in our upcoming Compilation Art Book – Infected by Art Volume 7. The best images voted on by our jury will be selected for the book. We’re looking for the very best in Imaginative Realism artworks, i.e. science fiction, fantasy, horror, etc. Traditional and Digital painting, Drawing and Sculpture are all acceptable mediums. Open to All Artists. Entry Fee. Details:http://bit.ly/iba7details OR [email protected]

 

December 31, 2018

OPEN CALL FOR PRINT ARTISTS THE HIT EXHIBITION 2019 Norway’s first International Festival of Relief Printing. The HIT-festival will be launched in May 2019. It aims at celebrating tradition and innovation within relief print, woodcut and linocut etc.The HIT-Exhibition will be a juried Exhibition and a Competition. Three works will be announced as prize winners with sums of respectively NOK 100 000,-, 50 000,- and 30 000,-. No Entry Fee. Details: http://www.haugesund-billedgalleri.no/hitfestivalen-2019 OR [email protected]

 

December 31, 2018

EZRA JACK KEATS BOOK AWARD The intent of the Award is to identify and encourage early talent. To be eligible, the author will have no more than three children’s picture books (including nonfiction, chapter, YA) published under any name prior to the one being considered. The award includes a prize of $1,000 for each winner in each category. Entries from publishers, based on the Award criteria, are welcomed throughout the year. No Entry Fee. Details: http://bitly.com/2x8YWCQ

 

January 04, 2019

MIDDLE TENNESSEE REGIONAL COMMUNITY COLLEGE SHOWCASE The MTSU Department of Art and Design announces a call for entries. This showcase exhibition will be at Todd Art Gallery in Murfreesboro, TN, February 9–28, 2019. We seek submissions of two dimensional, three dimensional, video & time based original art created by students and faculty from Community Colleges located in TN, AL, AR, GA, KY, MS, MO, NC, SC, and VA. No Entry Fee. Details: 615-898-5532 ORhttps://tinyurl.com/Showcase2019 OR [email protected]

 

January 14, 201929TH GABRIEL PRIZE STUDY CLASSICAL ARCHITECTURE IN FRANCE. A $20,000 grant is conferred annually to a jury-selected applicant and is intended to cover costs of travel, lodging, and study for a period of 3 months between May 1 and August 1, 2019. Interpretative studies are to be graphically recorded in freehand sketches and presented in perspective drawings reflecting the skill of the winner. Requirements and application are available on website. No Entry Fee. Details: 210-829-4040 ORhttps://www.gabrielprize.org OR [email protected]


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Gan Golan

 

“If we can somehow observe the process that happens between a work of art and an idea reaching a community, and then that community taking a defiant form of action, that’s the black box.  That’s where the great mystery is happening in these beautiful, unbelievable processes of moving from meaning to building relationships, to building power to taking action. That’s where I would love to be able to peer in more clearly.”

Gan Golan is a New York Times Bestselling Author, Artist & Agitator. His most recent works include the bestselling children’s book parody Goodnight Bush, and the critically-acclaimed graphic novel about the economic crisis, The Adventures of Unemployed Man. He has 20 years experience as a grassroots activist, having worked on issues from housing, to policing, to global justice and militarism. He has created giant Mayan God protest puppets with indigenous collaborators in Mexico, and dropped 4-story banners from buildings with supergeeks at MIT.

___________________________________________________________________________

George Perlov:  So Gan,  it seems as if you are everywhere. What’s up with that?

Gan Golan: I work independently for the most part.  I’m affiliated with a lot of really great people on an ad hoc basis depending on the action, the opportunity that’s in front of us.  I’ve worked with The Yes Men, I’ve worked with Citizen Engagement Lab, I was part of The Culture Group, and their Waves Report, and I was the training director for Beautiful Trouble for awhile.    

My training is as a visual artist and performance art, kind of performance interventions.  You know, I have my own arts practice as well, but it’s really trying to look at where these mass social movements and creative practice intersect.  

GP: Right.  So talk to me about these intersections.

GG: Yeah.  These are overlapping communities.  We connect with people who have learned a lot from each other as people experiment with this stuff. I think I come down on the social movement end of the spectrum, and I don’t work as much with, I think, groups that are affiliated with the art world.  I think for me it’s really about how creative practice really works in service of social movements, where I think, at least at this moment in history and the challenges we face, are the most important places we can have impact, and so I’m very interested in acting in the role of creative activist within popular social movements.  And I also work with another group called the Movement NetLab, which is really a think tank that came out of Occupy and Black Lives Matter, and it’s really looking at trying to understand the kind of underlying structures that often govern the success of mass popular social movements.

GP:  Okay.  Is there a basic process that you use for your trainings? Or is it more fluid than that?

GG: For me it’s pretty fluid.  There’s now a broad range of different tools that have been developed by this landscape of creative activists, which I think is fantastic, but it also means that we have a toolbox from which to draw from to figure out what tool is going to fly for each challenge.  It might be very different. It looks very different in different situations. Whether it’s really grassroots community-based stuff as opposed to people who have never worked with creative activism before and are very much at the beginning of their own organizing, but just have a very urgent fight that they’re involved in; to working with large coalitions of as-you-go’s, who are trying to organize a maximal organization of hundreds of thousands of people and already have a bunch of media people and everything in place.  And you’re really trying to help them jump tracks into a different way of strategizing and making a creative activist practice.

GP: What is a creative activist place to you? How does it offer a different impact?

GG: Yeah.  Well, I think, particularly because of my orientation and looking at mass social movements, which I think are a key entrance to driving change right now, but I think there are some practical – not necessarily my personal preferences – practical reasons that we’re focused on.  I think they ask us different questions about what impact is and where to look for it.

GP:  That’s interesting that your personal preferences don’t align with some of the practical reasons of social movements. In terms of its impact then, where do you look for it?

GG: I think it can be useful to reframe what we mean by ‘an act’.  It’s often different than the way that we have tried to look at it.  I really think when you talk about artistic activism – that artistic activism is the nexus between creating meaning and building power.  These two very different practices that, when they intercept, can become very powerful. And it’s really about channeling collective energy on a massive level, which is different than some of the individualized wave of personal transformation or shifting someone’s opinion or all of those things which we sometimes try to look for impact.

GP: Okay, so what I’m understanding is that impact is different on a larger scale than an individual one. How does that differentiation apply to work you’ve done?

 

GG: Another group that I’m associated with is People’s Climate Arts, we need people’s collaborative arts. It came out of the group that helped design the People’s Climate March, which is the largest climate globalization in history that happened in New York City in 2014, in which we were successful in really putting creative activism at the very center of the strategy for the entire organizing effort, which was a major shift because we were dealing with a large coalition of big power players.  So we were very entrenched in an area, with loads of organizing, and what that meant to them, and we got them to make a shift, and the shift proved revolutionary for their practice. We got 400,000 people in the streets, and we communicated in an entirely different way what climate activism meant and who really was at the forefront of the Climate movement. I think we reframed what the environmental activism is in the United States. It was a pivotal moment.

GP: That’s amazing. How did that happen?

GG: And I think a lot of it had to do with the narrative strategy of the creative organizing that was at the center of it.  And what we came out with is the idea that creative activism or artistic organizing is many things, but where we felt we really exceeded was in understanding that art is an organizing strategy, and to organize those.  Everybody does this differently and there are some ways to do them better. And that’s different than the artist journalism, art as personal transformation – all these other important things that art can do.

GP: How is artistic and creative activism fall in line with art and traditional activism?

GG: So for us, yes, it was phoning people, inspiring people, but it was also about mobilizing people, engaging people on a very large, broad level, and then building the relationships between those people and then getting people into new forms of work.  And so to build relationships, is relational organizing. It is really kind of the covalent bonds that allow individuals to form into things that have power.

GP: In building relationships between people, how did that change the impact of the project?

GG: The art played a really significant role in that.  And yeah, you can zoom in on the individual level and look at the way opinion was shifted or, you know, or to think of self- transformation, or things like that, but what we were really able to see was really how this was operating collectively at a very large scale, and creating new webs of relationships that many of them are doing to this day – a number of organizations came out of that effort, as well as things like shifting the popular narrative around these issues.  So I guess the short answer is I think that we need more metrics around collaborative mobilization about relational density, looking at the densification of relationships within certain communities that are engaged in the creative practice, as well as a marriage just on a large scale. If we want to see how a new narrative was injected into the popular discourse, that’s a really interesting question, and I think there are some answers to some degree. But to the degree that people have attempted to look at that, I think there’s a really interesting site on the way different firms started to become big within the media.  Like there was a LexisNexis search done around, or income equality, in 2011. And the economic crisis started in 2008. And really, there wasn’t a whole lot of talk about it, but suddenly Occupy happened, and there’s massive proliferation of the term “income equality” through the media that almost dovetails perfectly to the day of the kind of public life of the Occupy movement.

GG: So you could see Occupy as a kind of form of public performance art, really, as a creative intervention itself.

GP: How does creative intervention change or assist the movement?

GG: Political theater, or whatever we want to call it.  But it really helped generate this entire – it injected an entirely new conversation into the public discourse in a really powerful way.  And I think there could be lots of other interesting ways to measure that, but the kind of ways in which creating meaning by the equation of really starts to be visible and seen on that collaborative level.  You could also see the proliferation of hashtags for more complex narratives around climate change. I would love to see people do studies around these new areas that were introduced during the Climate March that had previously not been talked about, and environmental stuff like climate change and immigration, for example.  There was a huge section of the march designed around that. The whole march was designed as a story from beginning to end. So a 20-block-long story with 400,000 people in it, which is very different to the way marches are organized.

GP: As a story? How do people factor into this idea of story?

GG:  I also think that there’s a huge – it would be really interesting to see more of a focus on the way that new identities – collective identities, political identities – are created, and I think a lot of that has to do with artistic practice. And when you look at Occupy as an identity, right, Black Lives Matter as an identity, creative defenders as an identity, you see that people are highly motivated to take action because basically they have internalized that identity.  It has become meaningful to them. But it’s something that is shared with other people.

GP: Okay.  So if I’m correct in what I’m hearing from you, impact can be assessed at at two levels:  the ability of changing the organizations and how they do their work, and also in terms of narrative, how the narrative changes in the public and/or leads or whomever it is.  

GG: Yeah.  The language changing, but also the impact is creating – and I think this notion of identity is really, really important.  Because these are invented identities, these are artistic acts that are then popularized by the idea that we are a part of this thing, that is X, and it means it is a very specific thing to be a part of this.  And we often discount, I think, if you look at the history of the labor movement, so much of the art and culture that accompanied it was about who we are as a labor movement and as a working class people. There was a class identity.  It was about union membership and it wasn’t just about contract fights and negotiations and policy to try a popular idea, it was about redefining who is “we” and who is the “they,” you know, and creating that narrative that people, that story that people were then living with the activism.  And I think it gets to a bigger point that cultural organizing is nothing new.

Religion has done it for thousands of years.  Political parties have done it since their existence.  And these are very much around the idea of forming collective meaning.  The way art is practiced as it happens now in the contemporary setting, is it’s very much about the individual – the individual artist, the individual audience member having some sort of personal transformation, and I think that’s been a huge liability, actually, to the left.  And we can see these tensions erupt very quickly when artists try to work with organizers and they don’t have a great understanding of each other.

GP: I can imagine.

GG: I don’t meant to beat a dead horse, but I really try to look at the way in which collectives are created and mobilized and then focused in their action and the role that art and different creative practices play in that.  Like, I think public ritual, for example, is a very important way in which collective identities are re-defined and fortified before people take forms of action.

GP: Ritual?

GG: That would be totally self-evident to somebody working within faith communities.  But in the much stranger context, where artists who are think, oh, well, I’m supposed to produce this work of art and I show it to people and they have this experience, and so I just think the way in which we often think of cultural organizing is much narrower than it needs to be, and a few other things aren’t so important.  And there’s a way in which – well, I could go on…

GP: Yeah, let me jump into this idea of – going back to measuring impact – are there some groups who are doing a good job of this do you think in the field?  Or what’s your sense?

GG: I haven’t seen – and again, I’m not nearly as close to it as other people.  I haven’t looked at this stuff for a couple of years. But I have not seen anything that really blew my mind in terms of, oh, that’s what we’re looking for.  But also, for me, there’s also a question of who are we trying to convince, and of what? Are we trying to convince funders? Are we trying to convince economists?  Are we trying to convince advocacy organizations? And to do what? To spend more money on this stuff? You know, to respect the role of art and culture? Those are part of my questions.

GP: Well, let me ask you this.  Who do you think is driving the process?  Is it the funders or academics, or others who are interested in that?  Or where is the energy coming from on this topic?

GG: I feel that I’ve seen advocacy organizations try to get more funding and making the case to a lot of tone-deaf and culturally deaf organizations, to spend more money on culture.  And then I have also seen people in the entertainment complex trying to make the case for this stuff to then integrate more of this stuff and put it into popular media, popular culture.  But I do think in doing that, we often miss, I think, what some of the most important and radical stuff that is really working. We no longer have to talk about this in theory. We can point to a few examples, and the two major shifts we’ve had and the call to discourse on the progressive side of things in the last decade have been Occupy and Black Lives Matter – equality and racial injustice.  And those came from outside the advocacy structures, outside the established media structures, outside the unions. But interestingly enough, artists have been very central and pivotal to both of these movements. If you look at the people who are leaders in these movements, even though they may not be known publicly as artists, these are not people with law degrees or MBAs. Some of them have an academic background, but they’re not PhDs.  They are people with a lot of background in creative and artistic practice. And I think what they are doing is pitching to their community or to a larger public different narratives that create a sense of meaning to help organize the people’s sense of frustration and injustice in a coherent way. That is a creative act.

 

 

Cover of The Adventures of Unemployed Man, Gan Golan and Erich Origen

GP: Right.

GG: And they’re practicing it on a massive level.  They’re not creating any identifiable piece of culture.  They’re not creating movies, you know. And that’s where I think that has been, and I don’t know if anyone is mentioning that other than, you know, social media, something like that, which I think are useful, but they’re not getting at the heart of why these things are meaningful and powerful and mobilize human labor on a massive scale towards a particular goal.

GP: You’ve brought up both  Occupy and Black Lives Matter.  I’m curious to hear what your take is on why they were successful.  What did they do that you feel you’ve seen impact?

GG: Right.  Well, I think they created – first of all they created a narrative in a vacuum where people were having a very difficult and painful lived daily experience, around which there was no narrative to really explain being offered by popular culture or the State about why their experience differed so much from the popular discourse.  They were being told one thing and experiencing another thing entirely. And that vacuum of meaning is an incredibly fertile area for any kind of opportunist to intervene, and that’s why you have – [Charles] Schwab [the popular investment firm] is the most successful performance artist of our time, without question.

Page from The Adventures of Unemployed Man, Gan Golan and Erich Origen

And he understood this in a way that the left I don’t think has understood this.  The way in which you create – if people’s experience is dramatically different from the narrative that they’re given to understand that experience, someone is going to offer a new narrative.  And that narrative, that web of meaning is going to tell them who they are, who they are fighting against, what they are fighting for, and how they should do it. And whoever can come in and offer that framework in a way that actually makes sense based upon what people already know, is going to be able to mobilize people on that scale, and I think Occupy did that.  I think the Tea Party did that. I think Black Lives Matter has done that.

GG: Okay.  So ultimately they’re successful because they’ve been able to mobilize people to do something differently.  Or do something.

GG: Yes, but in a meaningful way.  But it’s told them something about who they are and given them a sense of agency in that story.

GP: I guess the other question I have right now is more about is assessment and evaluation and all of this, is it part of your planning and training process when you’re working with groups?  Do you set goals and objectives with them, or how does that work when you’re working with an organization?

GG: You typically find metrics that I think really match – what I believe are the most important aspect of this process.  I don’t use them. And the reason is that I think – I don’t know if you ever saw the famous “I Love Lucy” episode, and it’s an old vaudeville joke, but Ricky comes in and Lucy’s crawling around on the floor looking through the carpet.  Ricky is like, “What are you doing? What are you looking for?” And she says, “I lost my earrings.” And he says, “where did you lose them?” And she says “in the bedroom.” And he says “well, why are you looking or them here?” And she says “because the light is better.”  It’s the classic joke about – and I think it says a lot about metrics, which is that we often look where the light is rather than where the answer is.

I think where we keep it clearest is where we start to focus a lot of our activity.  I think a lot of the conversation on metrics has been actually damaging because the things that are the most measurable are sometimes the least important.  And I think that the most important are the least measurable. And as a result, the metrics and the money and support and the institution building all go in the other direction.  And I think the main, most important things we can be doing needs less support. And I actually think this explains a huge amount of the diversion of the left for the last 30 years into professional forms of organizing that have actually depleted the things that are actually effective and meaningful.  And that’s why most of the collective organizing that I see, that is really shifting the discourse, is coming almost totally outside of the professional vendors. We built up a nonprofit industrial complex for 30 years, and it coincided with total increase in the power of the [professional] left. And then these breakthroughs are happening from almost totally outside the system that we created in order to address the problem. So I think there can be a danger, actually, in pursuing kind of metrics as a means to target the work that we do.

GP: Can you give an example of something that is measurable but maybe not that important?  A lot of folks talk about success in terms of how much social media coverage they get. Likes and clicks.

GG: Yeah, I think social media is actually a stepping stone metric.  Because it’s the first time we’ve actually able to measure the way in which people are responding to something on a massive level.  So I think it’s a really important metric, but it also doesn’t get to the – but then people are just saying, well how can we get more hits, how can we get more views?  And then there are all kinds of artificial ways to create that. So people are going after the metric rather than the thing that actually causes the metric.

So people are gaining the system, and then looking at their own false results as examples as having in fact…  So we’re tricking ourselves in the lab, so to speak. So I don’t think we have yet found metrics that really show meaning, but I do think that when you see massive levels of people willing to undertake risk, willing to exert their energy, particularly when they’re not being compensated by anything else, that’s when you start to see human meaning being actualized in concrete form.  Meaning is what motivates people to do work. Let’s say there’s an economy of meaning where people are motivated to do work in the absence of some other currency.

GP: This whole question of – we were talking about metrics and then I asked this sort of crazy question, which is does it matter if these programs are effective or not?

GG: I think it matters if they’re effective, of course.  But it really depends on how we define “effective” and “impact” – all of these things.  Like I was saying is that we’re often looking in not the most potent places. And I’d certainly like to measure places where it is most potent.  So I do think it matters that it works, but I think artists are often accused of doing things that don’t matter because they are intuitively doing things that are meaningful and makes sense to them that are not measurable.  

So in doing so, sometimes they may be plugging into something that is incredibly powerful and important.  So I would encourage people to keep doing things that don’t matter to others the way that we define them, because we’re reaching out into that dark, undefinable place in which so much of human experience actually happens. These are the key places in which people often are motivated to change.  So yes, keep doing things that “don’t matter” because that is likely the place that matters most.

GP: So, given your suspicion about metrics and what they are actually measuring, do you think there is any value in assessment, in theories of change,  or impact measurement?

GG: Yes, if it can help us see into some of those black boxes, some of the dark areas.  We’re trying to see the dark matter that’s out there and detect it and really understand it.  If we can somehow observe the process that happens between a work of art and an idea reaching a community, and then that community taking a defiant form of action, that’s the black box.  That’s where the great mystery is happening in these beautiful, unbelievable processes of moving from meaning to building relationships, to building power to taking action. That’s where I would love to be able to peer in more clearly.

http://gangolan.com/

Michael’s is Hiring Art Teachers

Acrylic Painting and/or Watercolor Instructor Wanted

Job Description: Acrylic Painting, Drawing and/or Watercolor Instructor wanted to teach art classes at the Michaels store in Roseburg and Medford, OR.

This is a part-time, permanent position. This is a great opportunity for an artist who would like to be able to offer classes, but does not have their own studio space to do so.

 We are looking for instructors who:

-have the ability to paint and/or draw realistically

-have the ability to teach realistic acrylic painting, watercolor and/or drawing classes

-have the willingness to market their classes and build their own student base

 Compensation:

FREE Basics: MAKE A Project Classes: Scheduled up to one time per month

o   Hourly rate plus $3 per student

Instructor’s Choice: Acrylic Painting, Watercolor and Drawing Classes:

o   Hourly rate plus $7 per student for 6 students in attendance or less

o   Hourly rate plus $10 per student for 7 students in attendance or more

*All schedules to be determined between instructor and Michaels store management.

 Duration: Classes are two hours in length.

The goal of each class is for students to leave with a finished painting or drawing.

Certification: All Grumbacher art instructors who teach classes at Michaels must become certified through Grumbacher.

TO APPLY FOR CERTIFICATION (free of charge)Visit jobs.grumbacher.com to start the process

o   Find the store that you would like to apply for by choosing your state from the drop-down menu at the top of the page.

o   Click on the store that you would like to apply for certification

o   Read the official job description (at jobs.grumbacher.com)

o   Submit your application

You will be contacted regarding the next step after we receive and review your online application. If you have questions or require assistance, please respond directly to this ad.

 Please note: Certification through Grumbacher is completely independent of the Michaels hiring process. Once certified, you must complete the Michaels employment application

Calls to Artists from Art Deadlines List

Editor's Note: We have removed several calls that were obviously not intended for Oregon artists.
Some calls that remain should be checked for eligibility of Oregon artists before applying.
We wish you the best of good fortune in any of these calls you may apply for!

April 1, 2015 THE ARTIST'S MAGAZINE ANNUAL ART COMPETITION More than
$25,000 in prizes will be awarded, and Top Award Winners will be
featured in the December 2015 issue of The Artist's Magazine! All
winners will also appear in a special online gallery. There are 5
categories for you to compete and win. Plus, there's a Special
Student/Beginner Division for new artists. Entry fee. Details:
715-445-4612 OR bit.ly/TAMAnnualADL OR [email protected]

December 31, 2014 DAVE BOWN PROJECTS Jurors: Steven Matijcio, Curator,
Contemporary Arts Center, Cincinnati; Dominic Molon, Curator of
Contemporary Art, RISD Museum; Marina Pacini, Chief Curator and
Curator of American, Modern, and Contemporary Art, Memphis Brooks
Museum of Art. In addition to the cash prizes listed above; Dave Bown
Projects will be buying works of art from artists as submissions are
received. Early entries are encouraged. Previewing will occur on a
daily and weekly basis by Dave Bown Projects as submissions are
received. Entry fee. Details: +1-917-365-5265 OR
http://davebownprojects.com OR [email protected]

January 5, 2015 12th ANNUAL OUTDOOR JURIED EXHIBIT CASH AWARDS
Embracing Our Differences is accepting submissions for its annual
outdoor art exhibit celebrating diversity and inclusion displayed
April & May 2015 in Southwest FL USA. 39 artists will be selected and
national and international submissions are encouraged. $3,000 (US) in
awards. No entry fee. Details: 941-404-5710 OR
http://embracingourdifferences.org OR [email protected]

December 28, 2014 CHRONOGRAPH: PHOTOGRAPHY AND TIME Photography is a
medium renowned for freezing time. However, there are many facets and
dichotomies this theme of chronology can visually explore. Entry
fee. Details: 802-777-3686 OR
http://http://www.darkroomgallery.com/ex65 OR [email protected]

December 30, 2014 INTERNATIONAL AIRPORT CALL FOR PUBLIC ART PROPOSALS
The Broward Cultural Council Public Art & Design Program is seeking to
commission a professional artist or team of artists for five public
art opportunities at the Fort Lauderdale - Hollywood International
Airport. Application fee. Details: 954-357-7457 OR
http://www.broward.org/Arts/PublicArt/Pages/Calls.aspx

December 31, 2014 CALL FOR PRINTMAKERS Seeking printmakers releasing
signed and numbered limited editions of silkscreens, lithos, etching,
and giclee prints. All themes considered. Have your work featured for
sale to a wide audience of print collectors from all over the
nation. NO FEE TO LIST PRINTS FOR SALE. Open to all artists
nationwide, immediate sign up and listing of editions. Entry
fee. Details: http://www.printdrop.com

December 31, 2014 CALL FOR ENTRIES! DREAM QUEST ONE POETRY & WRITING
CONTEST International, open to anyone who enjoys expressing their
innermost thoughts and feelings into the beautiful literary art of
poetry and/or writing a story that's worth telling everyone, for a
chance to win cash prizes totaling $1,275. Write a poem, 30 lines or
fewer on any subject and /or write a short story, 5 pages maximum
length on any theme to ENTER NOW! Entry fee. Details:
http://www.dreamquestone.com OR [email protected]

December 31, 2014 GALLERY ONE IN PRINT Accepted entries will be
included in a month-long exhibition in May of 2015 in the beautifully
restored Gallery One in downtown Ellensburg. Open to all printmakers
18 or older working in the US. There will be opportunities for
lectures, workshops, and/or special events. $1500 in awards will be
distributed by the jurors. A print catalog will be created. Entry fee
is $30 for up to three entries. Details: 509-925-2670 OR
http://www.gallery-one.org/?portfolio=gallery-one-in-print OR
[email protected]

December 31, 2014 INTERNATIONAL CALL FOR SMALL WORKS An exhibition of
Small Works to be held at the Limner Gallery January 29 - February 21,
2015. Open to all media and styles of artwork, 20" maximum dimension
on any side including frame. Entry fee. Sponsored by/details: SlowArt
Productions 123 Warren Street Hudson NY 12534
http://www.slowart.com/prospectus/small.htm

December 31, 2014 PIPELINE IDEAS COMPETITION $1,000 prize plus
commission to fabricate and install. Dazzle us with your creative
ideas to re-use massive cast iron water pump components for functional
items like seating or bike racks, way-finding and signage, or
sculpture. One winning entry will receive $1,000 just for the
idea. Fabrication and installation budget and schedule will be
contingent upon agreement with the artist. The goal is to commission
the winner to fabricate and install the work in a new park overlooking
the scenic Charles River, in Medfield, Massachusetts. Entry
fee. Details:
http://medfieldculture.org/2014/11/25/ideas-competition-pipeline OR
[email protected]

January 1, 2015 WINTER RESIDENCY IN ICELAND Best. January. Ever!
'Photographers often talk about the 'magic hour', as warm colors erupt
from the sun's low, raking light. The thing is, in Iceland in January,
the sun is that low every moment of the day, four or five hours a day
at the start of the month, eight or nine at the end. Hour upon hour
upon hour of pinks and oranges and incredible, form-revealing
shadows'' Joe Decker. Entry fee. Details: http://tinyurl.com/omw3wba
OR [email protected]

January 5, 2015 CALL FOR APPLICATIONS: ROME ART PROGRAM SUMMER 2015
Unique, challenging and intensive program which encourages young and
mid-career artists to return to the street and paint directly from
first hand observation. Guided by an internationally acclaimed faculty
of artists and art historians, students become part of the fabric of
the city as they live, work and study in the historic streets and
gardens of central Rome and Trastevere. Application fee. Details:
646-783-0046 OR http://romeartprogram.org OR [email protected]

January 6, 2015 19th ANNUAL HEARTLAND ARTIST EXHIBITION Artists age 18
and over are eligible to enter the exhibition. Only original paintings
in oil, watercolor, acrylic, pastel, charcoal, pencil or a mixture of
any of the above media are acceptable. All work must be on canvas,
paper, masonite or ragboard. Previously exhibited at the Tim Murphy
Art Gallery are not eligible for entry. Entry fee. Details:
913-322-5550 OR www.merriam.org/park OR [email protected]

January 8, 2015 SOMERVILLE SEEKS SPECIAL EVENTS MANAGER The position
is responsible for managing community, civic, and cultural events for
the City of Somerville and specifically for the Somerville Arts
Council (SAC). BA degree in arts or humanities field, and five (5)
years experience; or any equivalent combination of education, training
and experience which provides the required knowledge, skills and
abilities to perform the essential functions of the job. Salary:
$60,000 per year; paid weekly at $1,153.85; plus benefits. Details:
[email protected]

January 9, 2015 PERFECT STORM : WHERE INSPIRATION AND IMAGINATION
CONVERGE The Rocky Neck Art Colony invites New England artists in all
2D and 3D media to submit work for the Perfect Storm. Varied and
diverse interpretations of this title are encouraged. The show will be
held at the Rocky Neck Art Colony Cultural Center, Gloucester,
MA. Submission Fee. Details: 978-290-2639 OR
http://www.rockyneckartcolony.org/_pdf/perfect_storm.pdf OR
[email protected]

January 10, 2015 INTERNATIONAL SCRIPT WRITING COMPETITION From
September 2014 till 10 January 2015, experienced & new
producers/directors/writers from all over the world can register or
submit their script/s. Top finalists will get their scripts read by
industry professionals. Entry fee. Details: http://www.jiffindia.org

January 12, 2015 OPEN CALL FOR PHOTOGRAPHY: PHOTOPLACE GALLERY 2015
OPEN The subject is up to you. The process is up to you: film,
digital, alternative process, historical process. Whatever you do
best, show us the best of it and share your unique vision. Juror: Jeff
Curto. Application fee. Details: 802-388-4500 OR
http://www.vtphotoworkplace.com/id273.html OR
[email protected]

January 12, 2015 LENS 2015 INTERNATIONAL JURIED PHOTOGRAPHIC
EXHIBITION Photographers are invited to submit five (5) photographic
images in JPEG form. Images must have been created within the past
five years. Juror: Paul Berlanga, Director of Stephen Daiter Gallery
and Owner/Director - Berlanga Fine Art & Photographs both in Chicago,
IL. The fee for submitting up to five (5) images is $40. Details:
847-200-1155 OR http://perspectivegallery.slideroom.com OR
[email protected]

January 13, 2015 STARTUP ART FAIR, SAN FRANCISCO: CALL FOR ARTISTS
Independently produced art fair for unrepresented artists, May 1-3,
2015 in San Francisco. Jurors: Janet Bishop, Curator SFMOMA; Cathy
Kimball, San Jose Institute of Contemporary Art; Walter Maciel, Walter
Maciel Gallery; Heather Marx, Heather Marx Art Advisory; Paul Mullins,
SF artist and Professor SF State University; Hank Willis Thomas, NY
photo-conceptual artist. February 15, 2015, deadline. Application and
entry fees. Details: 925-918-7067 OR http://tinyurl.com/pjcsrnx OR
[email protected]

January 15, 2015 EMERGING PHOTOGRAPHER SOLO SHOW AWARD One winner will
be awarded a solo show at Prince Gallery and two runner-ups will be
awarded online exhibitions. We encourage submissions of both
traditional and non-traditional image-making and presentation, as well
as antiquated processes, photograms, silver, digital, etc. We are
interested only in a cohesive body of work, expressing consistency of
artistic vision and skill. Entry fee. Details: 707-889-0371 OR
http://www.prince.gallery/submissions OR [email protected]

January 18, 2015 WOMEN'S WORKS 2015, 28th ANNUAL FINE ARTS EXHIBIT
Women's Works is an international juried fine art exhibit celebrating
the creativity of women artists and is presented annually by the
Northwest Area Arts Council and the Old Court House Arts Center in
Woodstock IL. This is the 28th Anniversary of the Women's Works
show. Use Coupon Code 'ArtDeadline' for $5 off entry fee. $1500 in
prizes. Entry Fee. Details: http://www.womensworks.org OR
[email protected]

January 19, 2015 I PARK 2015 ARTISTS IN RESIDENCE PROGRAM I-Park,
located in rural East Haddam, CT, announces its 2015
multi-disciplinary artists-in-residence program to those working in
the following creative disciplines: visual arts, creative writing,
music composition/sound art, architecture, moving image and
landscape/garden/ecological design. Self-directed residencies offered
from May-Nov., 2015. International applicants welcome. Application
fee. Details: 860-873-2468 OR http://www.i-park.org OR [email protected]

January 24, 2015 CALL FOR ENTRIES: STUDIO MONTCLAIR'S VIEW POINTS 2015
ANNUAL Presented at and co-sponsored by aljira, a Center for
Contemporary Art in the heart of Newark, NJ's arts district from June
4 to June 30, 2015. All mediums accepted including videos and
installations. Juror: Jeffrey Wechsler, independent curator, writer,
lecturer and former Senior Curator at Jane Voorhees Zimmerli Art
Museum, Rutgers University from 1978-2012. CASH AWARDS. ONLINE
ENTRY. Entry Fee. Details: 973-744-1818 OR
http://studiomontclair.org/?p=6824 OR [email protected]

January 27, 2015 CONTAINERS FOR THE SELF JUDGED BY JANE GILMOR What is
the self? How does one feel itillustratrions absence or presence. One might create
an actual physical container or a metaphorical container, the 2-D
plans for a 'container' or any other possible manifestation of this
theme. 2D and 3D submissions are encouraged. Show duration March 5-28,
2015. Entry fee. Details: 319-431-2669 OR
http://www.blackearthgallery.com OR [email protected]


January 31, 2015 CALL FOR PUBLIC ART PROPOSALS The City of Somerville,
acting by and through the Somerville Arts Council and the Mayor's
Office of Strategic Planning and Community Development (OSPCD), is
seeking the services of a designer/fabricator to provide design,
fabrication, and installation oversight services for custom seating
area and public art on a new plaza to be constructed near Davis Square
in Somerville, MA. The City intends to include creatively designed and
fabricated benches and sculptural elements to build on Davis Square's
creative aesthetic and connection to the arts community. The work
produced from this process is intended to be functional and to
distinguish Somerville for its inclusion of artists and the arts in
everyday life. Details: http://tinyurl.com/SDSBP-RFQ OR
[email protected]

January 31, 2015 CALL FOR ENTRIES SCULPT SIOUXLAND, SIOUX CITY, IA
Sculpt Siouxland is a project of the Sioux City Art Center and Sculpt
Siouxland, Inc. 10 freestanding outdoor sculptures selected for
display in downtown Sioux City, June 2015-June 2016. $1,000
honorarium, plus opportunities for prize money and purchases. Year
concludes with party/auction of sculptures. Artists may submit up to
three works. No entry fee. Details: 712-279-6272 OR
http://www.siouxcityartcenter.org/images/stories/pdf/2015sculptprospectus.pdf
OR [email protected]

January 31, 2015 BE INCLUDED IN INTERNATIONAL CONTEMPORARY MASTERS
This leading juried annual art publication presents noteworthy artists
from all over the world, and is distributed to galleries, agencies,
art consultants, interior designers and other art professionals. March
31, 2015, deadline. Participation fee if approved, no application
fee. Details: 805-845-3869 OR http://wwab.us OR [email protected]

February 9, 2015 WORLD ILLUSTRATION AWARDS 2015 Work entered into the
World Illustration Awards will be reviewed by a jury of international
industry professionals. The competition is open to illustrators
working in ANY medium or context. Winners will be announced at a
prestigious ceremony at Somerset House. Selected works will also be
showcased in an accompanying publication which will be circulated to
all major commissioners of illustration. Entry fee. Details:
805-963-0439 OR http://www.theaoi.com/awards/enter-info.php

March 1, 2015 9th ANNUAL WAYNE PLEIN AIR FESTIVAL CALL FOR ENTRIES:
9TH ANNUAL WAYNE PLEIN AIR FESTIVAL Juror, Ray Roberts will select 30
artists to compete in the festival from May 12-16 in Wayne, PA and
its historical and pastoral surroundings. $10,000 in prize
awards. Opening Reception Sat., May 16. Paintings will remain on
display and for sale through June 27th. Applications must be submitted
online only between Jan 1 and March 1, 2015. Entry fee. Details:
610-688-3553 OR http://www.waynepleinairentry.org OR
[email protected]

March 1, 2015 CALL TO ARTISTS NASHVILLE CHALK FESTIVAL Nashville Chalk
Fest is a free event - open to the public. We're looking for talented
artists to participate by creating a beautiful soft pastel painting
over the April 11-12th weekend. Your work will be on display and you
are able to promote yourself to your local community! All chalk
artists will be provided lunch on Sat. & Sun., Festival T-shirts,
chalk, water, goodie bag, & Reception! Details: 626-391-3444 OR
https://www.facebook.com/nashvillechalkfest OR [email protected]

March 2, 2015 EARTH WIND AND FIRE South Shore Art Center, Cohasset,
MA, invites entries of original work that offer distinctive,
imaginative imagery within the theme, Earth, Wind & Fire. Juried by
Carl Belz, Director Emeritus at Rose Art Museum, Waltham, MA. Open to
all media. Exhibition dates: April 10 - May 24, 2015. $1200 in
prizes. Entry fee. Details: 781-383-2787 OR
https://client.smarterentry.com/SSAC OR [email protected]

March 13, 2015 CALL FOR ARTISTS AT KREMPP GALLERY 2016 Reviewing
portfolios for solo and group shows for 2016. All media. Professional,
non-student artists only. Artwork must be presented in a professional
manner. Send 10 images for solo show, more for group show, along with
artist statement and CV. Digital images should be on CD or
emailed. Also, paid opportunities for workshops/gallery talks in
conjunction with the exhibit. No fees. Details: 812-482-3070 OR
http://www.JasperArts.org OR [email protected]

March 18, 2015 NATIONAL CALL FOR PHOTOGRAPHERS, CAMERA USA 2015 Open
to photographers taking photographs in the USA. Submit one photograph
online for a bricks and mortar exhibition in Naples, FL. $5,000 award
for one photographer. Three jurors: Harry Benson, Award Winning
International Photojournalist; Patty Carroll, Professor, School of the
Art Institute of Chicago; and Ariel Shanberg, Executive Director of
the Center of Photography at Woodstock. Entry fee. Details:
239-262-6517 OR
http://www.juriedartservices.com/index.php?content=event_info&event_id=900
OR [email protected]

March 21, 2015 ART STILL OFFERS HOPE Hi, We are pleased to invite you
to our project Paintings for Hope. We are giving away a painting a
day, for 365 days, completely free. We only ask that you share your
hopes you receive by looking at. All information you will find on the
website. In the November 12 issue of The Huffington Post, wrote
C. Davis: The project is based on Joseph Beuys's idea of a 'social
sculpture'. Welcome. No entry fee. Details:
http://www.paintingsforhope.org

March 31, 2015 OPEN CALL FOR MURAL PROPOSALS Design and execute a
mural to cover the exterior of the Torpedo Factory Art Center loading
dock (rolling door along Union Street, see diagram for measurements.)
This call is open to all local and regional professional artists
(living in the Deleware/Maryland/virginia area). The selected muralist
will be awarded $4,000, with a supply budget of up to $2,000. Proposal
selection with be conducted by an independent arts professional in
consultation with the Torpedo Factory Art Center CEO. Entry
fee. Details: https://targetgallery.submittable.com/submit

Calls for Artists – Deadlines from July 14 – December 6, 2014

July 14, 2014 SOUTHWEST ART’s ARTISTIC EXCELLENCE COMPETITION Get your
artwork spotlighted in Southwest Art and win $2000! Enter your best
work in our competition and show us your Artistic Excellence! The 13
winning artists will be published in the December 2014 issue of
Southwest Art and on our website. PLUS one lucky winner will be chosen
for that issue’s cover art. Entry fee. Details:
http://www.artistsnetwork.com OR [email protected]

December 6, 2014 DAVE BOWN PROJECTS The initiatives of the privately
held U.S. company focus on advancing the field of visual arts by
conducting research, buying works of art for the Collection of Dave
Bown Projects, and providing unrestricted monetary awards to visual
artists. Entry fee. Details/contact: Dave Bown
917-365-5265http://davebownprojects.com/about.html
[email protected]

July 7, 2014 NATIONAL ART MUSEUM OF SPORT ANNUAL FINE ART COMPETITION
NAMOS’
competition is open to artists 18+ who create fine art with a
sport subject in: 2D/Not Photography, 3D and Photography. Jurors will
select 30 pieces for an exhibit 9/7-11/3/2014, in New Canaan
Historical Society, Conn. There will be a downloadable
catalogue. Prizes will be awarded. NCAA is a sponsor. Entry
fee. Details: 317-931-8600 OR
http://www.nationalartmuseumofsport.org/competition/2013-2014

July 10, 2014 4th HOLGA INTERNATIONAL PHOTOGRAPHY COMPETITION
Show us
your best Holga image. “Out of the box” is about artistic creativity
to produce an image starting with a Holga camera. Not that you have to
photograph your Holga – out of the box – with out modifications”. It
is open to amateur and professional photographers around the globe
that use a Holga camera or an element of it. Juror: David
Burnett. Cash prizes and exhibition opportunities. Entry
fee. Details/contact: TCC PHOTO | GALLERY 207 N Center St Longview TX
75601 903-236-4686 [email protected]

July 18, 2014 ARTELES CREATIVE RESIDENCY PROGRAM 2015 IN FINLAND CALL
FOR ENTRIES:
Welcome to one of the largest, liveliest and most
international creative residency programs in Finland /
Scandinavia. Located in the scenic Hameenkyro, Finland, our residency
serves as the perfect platform to explore and expand the boundaries of
your art & mind. 1-3 month periods between February-September
2015. Partially funded. Details: http://www.arteles.org OR
[email protected]

July 21, 2014 WOMEN IN MOVEMENT PUBLIC ART PROJECT
The Women’s
Transportation Seminar Boston Charitable Fund, Inc. is pleased to
announce that the Request for Qualifications for the Women in Movement
public art project in Boston’s historic South Station is on-line and
open for applications. All that’s needed is a resume, an artist’s
statement and up to 10 images of past work. Budget: $150,000. No entry
fee. Details: 508-242-9991 OR http://www.wtsbostonpublicart.com OR
[email protected]

July 28, 2014 COMMEMORATING WW1 THROUGH ART
Free international art
project for all young people aged 4 – 18. Opportunity to explore WW1
in paintings. Ideas: Life for soldiers experiencing the war, Life for
civilians back home, Battle scenes, Propaganda posters, Life after the
war, Armament, Effects of the war on soldiers, their families and
others, The build up to the War. Schools welcome. No entry
fee. Details: http://tinyurl.com/q5gh8kw OR [email protected]

July 31, 2014 SHELTERED: ART BENEFIT FOR ANIMALS AT RISK
The five-week
show is open to residents of the US, 18 years and older. The theme is
“shelter.” Artists are encouraged to interpret broadly. All art
mediums considered. Works can be abstract, symbolic, realistic,
representational, pastoral, urbanesque, minimalist. We want to see
your vision! Details: http://shelteredartshow.org OR
[email protected]

July 31, 2014 ART ORGANIZATION SEEKS NEW DIRECTOR
Anchor Art Space is
a non-profit, artist-run organization in Anacortes, WA. We are looking
for a new Director. The Director will work closely with our board to
guide the direction and growth of Anchor Art Space as both
collaborator and supervisor. $900 per month + commission on any new
grant money. Please send a letter of interest and a resume with two
recommendations. Details: 360-755-3140 OR
http://www.anchorartspace.org OR [email protected]

August 1, 2014 4th ANNUAL MIDDLESEX FELLS CALL FOR ART
Seeking artists
of various media for its 4th annual Fells Art Month for the month of
September, 2014, at the Beebe Estates gallery, 235 West Foster,
Melrose, Massachussetts. Opening reception is September 5 from 7-9
pm. Gallery hours are Saturdays from 11-3. This year’s theme is
Nature, our most precious resource. We are seeking art that depicts
nature under threat, nature being preserved and nature being
celebrated. The size limit for hanging art is 20 x 20. Please submit
at most 3 samples. No entry fee. Details/submission Mike Oliver
781-662-2340 [email protected]

August 15, 2014 STEAMPUNK MARSHMALLOW FLUFF FESTIVAL POSTER
COMPETITION
What the Fluff? is a unique Somerville festival dedicated
to food, invention and art that celebrates Archibald Query, Somerville
resident and inventor of Marshmallow Fluff. Each year the residents of
Somerville collaborate on a huge festival that features activities,
music, food and fun for Fluff fans of all ages. This is a great
opportunity for a local graphic designer to add to their portfolio by
designing a poster, t-shirt and related materials for a wildly
popular, highly attended event. There is a small stipend available for
this project. No entry fee. Please send letters of interest, portfolio
links and any questions to:[email protected]

September 1, 2014 LOGO DESIGN COMPETITION FOR ART & PUMPKIN FESTIVAL

$2,500 in Cash Prizes: 45th Annual Half Moon Bay Art & Pumpkin
Festival Entry Format: Print Ready Vector based artwork: EPS, AI,
PDF. Wonderful opportunity to design a logo. Winning artwork will be
used for the Official Festival Poster, T-Shirts, Glassware, Signage
and print and web based marketing materials and recognize by numerous
press outlets. Entry fee. Details: http://www.hmbartpumpkin.com OR
[email protected]

September 8, 2014 CALL FOR “GMO FOODS” THEMED ART Calling all art
activists, writers, anyone embroiled with trying to make sense of
genetically modified organisms, to contribute to The Light
Millennium’s special web issue: Freedom of Information in the
Genetically Modified Age. All media to be displayed on website,
submissions accepted throughout the summer, with a possible event in
New York in the fall. No entry fee. Details:
http://www.lightmillennium.org OR [email protected]

October 1, 2014 RESIDENCY IN WYOMING’S BIGHORN MOUNTAINS THE UCROSS
FOUNDATION RESIDENCY PROGRAM
is currently accepting applications for
residencies of 2-6 weeks. Located on a 20,000 acre working cattle
ranch in the foothills of Wyoming’s Bighorn Mountains. Individuals
from all stages of their professional careers are invited to
apply. Applications accepted by mail or electronic submission. No
charge for residency. Application fee and refundable residency
deposit. Details: 307-737-2291 ORhttp://ucrossfoundation.org OR
[email protected]

December 21, 2014 ARTIST MARKET IN SOMERVILLE MASSACHUSETTS
Space is
available in upcoming Saturday Local Artist Market (SLAM) dates
through Dec 2014. SLAM is in its 5th year providing a venue for local
artists to exhibit & sell their work & an opportunity for shoppers to
find a wide variety of art & handmade goods in one location. All media
is considered. Entry fee. Details: http://burren.com/SLAM.html OR
[email protected]

Umpqua Valley Arts Association Seeks Gallery Manager

The Umpqua Valley Arts Association in Roseburg, OR  is seeking a Gallery Manager to sustain and grow its  outstanding art programs and exceptional service to the citizens of Douglas County.  UVAA rotates exhibits six times a year with a combination of juried shows, member shows, and traveling exhibits.  In addition to our signature Hallie Brown Ford gallery, art is displayed in 4 other venues throughout our building, which was designated an historic landmark in 2012. UVAA has contributed to the cultural life of Douglas County and environs since 1971.  It is an organization poised to grow and thrive beyond its already solid standing.

Salary will begin at $17.50 per hour, with a work week consisting of 7.5 hour days Tuesday-Friday (30 hours per week) with one 40 hour week bi-monthly (including Monday) the week of gallery openings.

Review of applications will begin August 27, and will continue to be received until the position is filled.  Please send a cover letter addressing the job description and a current resume to [email protected].  No phone calls please.

More detail about the job description on this page, please read before contacting them with questions: http://uvarts.com/gallery-manager-job-announcement/