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Can You Dig It? Artist Question and Answer Meeting August 5, 2015

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Can You Dig It? Artist Question and Answer Meeting August 5, 2015 Can You Dig It? Artist Question and Answer Meeting August 5, 2015 RFQ DEADLINE: August 26 5:00pm Earthworks or Land Art is an art movement that emerged in the mid 1960s in which landscape and the work of art are seamlessly linked. The works frequently exist in the open, left to change and erode under natural conditions. The term site-specific sculpture was coined during this time because the projects that were realized utilized the materials of their environment; were often time sensitive, and altered the viewer’s perception of the original site. The temporary, site-specific, land art projects commissioned for this exhibition will fall within one of the following categories: • Three dimensional: Artwork created in nature that uses natural materials and/or introduces manmade materials to highlight nature • Performance-based: Artwork focused on process, site and temporality, created by individuals acting in a one-on-one relationship to the land ELIGIBILITY: Open to professional artists/artist teams residing in the United States. BUDGET: Budgets for individual projects will range from $5,000 to $12,000. Project budgets are all-inclusive and intended to cover the cost of design, fabrication and installation. It is anticipated that a group of (10) semi-finalists (individuals and/or teams) will be identified during the selection process to prepare proposals for the installation. Semi-finalists will be awarded $500. honorarium for their proposal. SEMI-FINALISTS PROPOSALS -- Two (2) concept sketches and/or renderings -- Preliminary budget -- 150-300 word narrative to incorporate three or more of the following concepts into their land art proposal: • Utilize sustainable or natural materials • Express ecological concerns to educate the public about the California drought • Inform and interpret nature and it’s processes • Reveal environmental forces, such as wind, water, and/or light. • Re-envision our relationship to nature, propose a new way for us to co-exist with our environment • Reclaim and remediate a damaged environment, restoring ecosystems in an artistic way Consider the local setting for the artwork and weigh the impact that the proposed material(s) may have on the immediate environment. The length of the exhibition is anticipated to be 12 months. IMPORTANT DATES (subject to change) July 15, 2015 RFQ released August 5 Information meeting at Plummer Park August 26 RFQ deadline September 14 Semi-Finalists invited to submit proposals October 30 Proposals deadline November 5 Semi-Finalists presentations Finalists selected November Finalists meet with Facilities to discuss logistics TBD Installations begin January 2016 Opening Reception POSSIBLE SITES FOR INSTALLATIONS THREE-DIMENSIONAL : Artwork created in nature that uses natural materials and/or introduces manmade materials to highlight nature Spiral Jetty, Robert Smithson Double Negative, Michael Heizer Woven Branch Arch, Andy Goldsworthy The Wave Field, Maya Lin Sun Tunnels, Nancy Holt Surrounded Islands, Christo and Jean Claude Lightning Fields, Walter de Maria Robert Smithson, Spiral Jetty Michael Heizer, Double Negative Andy Goldsworthy, Woven Branch Arch Maya Lin, Wave Field Nancy Holt, Sun Tunnels Christo and Jean Claude, Surrounded Islands Walter de Maria, Lightning Fields PERFORMANCE-BASED: Artwork focused on process, site and temporality, created by individuals acting in a one-on- one relationship to the land A Line Made By Walking, Richard Long No Talking for Seven Days (Walking for Seven Days in a Wood January Full Moon Cairngorms Scotland 1993, Hamish Fulton 7,000 Oaks, Joseph Beuys The Hudson Headwaters Purge – “Anti-Acid Treatment”, Buster Simpson Wheatfield – A Confrontation, Agnes Denes Robert Long, A Line Made By Walking Hamish Fulton, No Talking for Seven Days Joseph Beuys, 7,000 Oaks Buster Simpson, Headwaters Purge Agnes Denes, Wheatfield – A Confrontation Can You Dig It? Technical Assistance RFQ DEADLINE: August 26 5:00pm RESUME Keep it short (4 pages or less) Highlight important accomplishments: Education Professional experience as an artist Gallery representation Solo or group exhibitions Teaching experience Awards/fellowships/grants. Use 10pt font or larger References Make sure your references are current and that they know you are listing them! TIPS FOR GOOD VISUALS: One photograph per image 1-4 images per project Start with “in context” image, followed by detail images Avoid using images of the installation Do not overlay text on an image Showcase colors and textures with proper lighting Crop image to eliminate unnecessary negative space to focus on the artwork Do not submit blurred or low resolution images Renderings of unrealized projects Properly label images (example: APPLICANT LAST NAME_01.jpg) to correspond to your annotated image list One photograph per image Multiple images for a project In context Detail Avoid using images of the installation Do not overlay text on an image Crop image to eliminate unnecessary negative space before after ANNOTATED IMAGE LIST Properly label images (APPLICANT LAST NAME_01.jpg) Artwork Title Year of completion If the project is unrealized state it here Dimensions Materials used (Media) Project location Budget Commissioning agency Brief description (150 words or less) LETTER OF INTEREST (LOI) The Letter of Interest (LOI) is reviewed by each artist selection committee member Questions to consider: Why does the project interest you? What is your interest or experience in creating site-specific artwork? What is your connection to the project area? Indicate why you think you/your artwork would be a good match for the project? What is your interest in public art? Explain your process briefly Do you have experience working in collaboration with others? With the community? If applying as a team who will be the point of contact? Does the team have any previous experience working in collaboration on a project? Keep it concise Don’t go into length summarizing your past experience DO NOT: send a generic form letter send proposals for a project Team application. Acknowledge the project/agency they are applying too Experience working with community and diverse materials What inspires the team. Notice they are not proposing a specific idea for the project. Very general and brief mention of past projects Personal connection to project location or concept Very general and brief mention of past projects Short and Sweet Lead artist Design Team Community Integrated Unique qualities of the call/RFQ What the committee can expect LETTER OF INTEREST (LOI) The Letter of Interest (LOI) is reviewed by each artist selection committee member Questions to consider: Why does the project interest you? What is your interest or experience in creating site-specific artwork? What is your connection to the project area? Indicate why you think you/your artwork would be a good match for the project? What is your interest in public art? Explain your process briefly Do you have experience working in collaboration with others? With the community? If applying as a team who will be the point of contact? Does the team have any previous experience working in collaboration on a project? KEEP IT CONSISE Don’t go into length summarizing your past experience DO NOT send a generic form letter DO NOT send proposals for a project (unless the call specifies to do so).
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