DOCSLIB.ORG

Juror Notification Call for Entries Juried Printmaking

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Juror Notification Call for Entries Juried Printmaking UNIVERSITY GALLERIES • BEN SHAHN CENTER 300 POMPTON ROAD • WAYNE, NJ 07470-2103 www.wpunj.edu JUROR NOTIFICATION Accepted Not Accepted Artist ________________________________________________________________ Title 1 ________________________________________________________________ Title 2 ________________________________________________________________ Title 3 ________________________________________________________________ NONPROFIT ORGANIZATION U.S. POSTAGE PAID PERMIT NO.44 WAYNE, NJ 07470 UNIVERSITY GALLERIES • BEN SHAHN CENTER 300 POMPTON ROAD • WAYNE, NJ 07470-2103 www.wpunj.edu/arts_culture/galleries 973.720.2654 FAX 973.720.3290 UNIVERSITY GALLERIES BEN SHAHN CENTER 300 POMPTON ROAD WAYNE, NJ 07470-2103 CALL FOR ENTRIES J U R I ED P R I N T M A K I N G & B OOK A R T EX H I B I T I ON All Traditional and Digital Print Media 2011 EXHIBITION DATES DIRECTIONS TO THE UNIVERSITY January 30 - March 4, 2011 Available on our website : www.wpunj.edu The galleries are located in the Ben Shahn Center, (#9 ELIGIBILITY on Campus Map) and may be accessed from Lot #2. The exhibit is open to all artists residing in the USA. Prints must have been completed within the past two Application Deadline years and may not exceed 60 inches. Work previously Tuesday, December 7, 2010 shown here will not be accepted. Notification SALES & AWARDS Tuesday, December 21, 2010 Sales are encouraged. A 20% commission will be taken. Prints and books selected for Purchase Awards will Receipt of Work Deadline become part of the University’s Permanent Print & Book Tuesday, January 18, 2011 Collection. Up to $6000. in Purchase Awards will be offered. Exhibition Dates January 30 - March 4, 2011 LIABILITY All work shown at the gallery will be insured for the Reception Date duration of the exhibit. The gallery cannot insure works Sunday, January 30, 2011, 3 - 5PM in transit. The cost of shipping works to the gallery and their return is the responsibility of the artist . ENTRY FORM UNIVERSITY GALLERIES • BEN SHAHN CENTER Please Print 300 POMPTON ROAD • WAYNE, NJ 07470-2103 www.wpunj.edu/arts_culture/galleries 973-720-2654 Name ________________________________________________ Phone Number _____________________________________ Address _______________________________________________ Emai l _____________________________________________ City ___________________________________________ State _____________________ Zip Code _____________________ Title ______________________________ Ti tl e ______________________________ Title _____________________________ Dimension s _______________________ Dimensions ________________________ Dimensions _______________________ Type of Print or Book________________ Type of Print or Book__________________ Type of Print or Book _______________ Value ___________ Date ____________ Value ___________ Date ___________ Value ___________ Date ____________ Make check payable to: William Paterson University SUBMISSIONS CHECK LIST JUROR 1. Completed Entry Form. Anne Coffin 2. Please send 3 images on a CD. Label the CD with the artist’s name & address. • Label Images: Artist’s Name, Title, Year, Print Type, Anne Coffin is the Director of the International Print Center Book Type, Value & Dimensions. New York, a non-profit institution located in Chelsea now • Include Resume & Artist’s Statement. celebrating its 10th Anniversary Season. Since its opening 3. Supply email address OR enclose a self-addressed in 2000, Ms. Coffin has spearheaded the development of stamped envelope for the notification of the results. 4. Entry Fee: $30. fee for three images. Make check IPCNY's exhibitions, programs and informational services, payable to William Paterson University. and overseen the organization of over 50 print exhibitions. Entry must be postmarked by: Tuesday, December 7, 2010 All accepted work requires proper framing and should be ready to be hung. The Juror reserves the right to Entry forms are available on the website: reject any work found to be unacceptable upon arrival. www.wpunj.edu .
Load more

Recommended publications
  • Discovering the Contemporary
    of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S.
    [Show full text]
  • Ali Banisadr / MATRIX 185 at the Wadsworth Marks Artist's First Solo
    FOR IMMEDIATE RELEASE Media Contact: Kim Hugo, (860) 838-4082 [email protected] Image files to accompany publicity of this exhibition will be available for download at http://press.thewadsworth.org. Email to request login credentials. Ali Banisadr / MATRIX 185 at the Wadsworth Marks Artist’s First Solo Museum Exhibition in the U.S. Hartford, Conn. (September 15, 2020)—Ali Banisadr draws freely from an encyclopedic knowledge of the history of painting to create a distinctive visual language, resulting in works that explore a “between space,” like those of hallucinations and dreams. Ali Banisadr / MATRIX 185 at the Wadsworth Atheneum Museum of Art is the artist’s first solo museum exhibition in the U.S. Ten paintings and two prints by Banisadr join a selection of works from the Wadsworth collection chosen by the artist, as well as a video collage that Banisadr created to show additional inspiration works from the museum’s collection. The exhibition opens October 22, 2020 and will be on view through February 14, 2021. “Banisadr’s depictions of abstracted masses feel especially relevant right now,” says Patricia Hickson, Emily Hall Tremaine Curator of Contemporary Art at the Wadsworth. “His compositions echo the disquiet we are witnessing across the world today, including political rallies, protest marches, and street riots. And yet, as timely as they are, they are equally timeless.” Banisadr’s process has been related to synesthesia as sounds instruct the energy and rhythm in his painterly compositions. His perception of sound as inextricably linked to color and form began in his native Tehran, Iran during the Iran-Iraq War (1980–1988)— the artist recalls drawing while sheltering at home.
    [Show full text]
  • About the Exhibition the Year 2020 Is a Historic One for the Evansville Museum’S Biennial Mid-States Art Exhibition, As It Marks Its Jubilee Anniversary
    About the Exhibition The year 2020 is a historic one for the Evansville Museum’s biennial Mid-States Art Exhibition, as it marks its Jubilee Anniversary. The biennial exhibition provides recognition for emerging artists and the opportunity to receive a purchase or merit award. Selected for this retrospective are top award- winning works spanning sixty years which provide a unique overview of the development in trends and techniques of artists in the Midwest. The annual juried competition was organized in 1948 by the Museum’s Director, Charles Bogg; Registrar, Florita Eichel; and Museum Trustee William A. Gumberts. Originally named the Tri- State Art Exhibition, the competition accepted paintings, drawings, prints, sculpture, and crafts for consideration by a jury of two or three art professionals. In the first decade, the number of entries steadily grew; and, in 1960, the Museum organized a separate regional juried exhibition devoted to craft. The Mid- State Craft Exhibition and the Mid-States Art Exhibition were presented annually until 1994 when the decision was made to offer one regional juried competition each year and the two competitions became biennials. The competition is open to artists residing in the six Midwestern states of Indiana, Illinois, Kentucky, Tennessee, Ohio and Missouri. In the exhibition’s sixty-year history, the purchase and merit awards donated by local individuals, businesses, corporations, and philanthropic organizations have allowed the Evansville Museum to purchase 326 works for the Mid-States Art Collection. On this Jubilee Anniversary, we congratulate all the artists who have participated in the Mid-States Art Exhibition and thank the many generous patrons whose gifts have made the acquisition of this important collection possible.
    [Show full text]
  • Finding Aid to the DC Art Association Records, 1969
    D.C. Art Association Finding Aid to the D.C. Art Association Records, 1969– 1991, Anacostia Community Museum Archives by Tonijala D. Penn May 2007 Contact Information Anacostia Community Museum Archives Smithsonian Institution 1901 Fort Place, SE Washington. D.C. 20020 202.633.4853 (phone) 202.287.2422 (fax) www.ACMarchives.si.edu Table of Contents Collection Overview......................................................................................................... 1 Administrative Information ............................................................................................... 1 Biographical Note ............................................................................................................ 2 Scope and Content Note ................................................................................................. 2 Subjects .......................................................................................................................... 3 Related or Complementary Material ................................................................................ 3 Series Description/Container List .................................................................................... 3 Series I: Administrative ................................................................................................ 3 Series II: Correspondence ........................................................................................... 4 Series III: Exhibitions ..................................................................................................
    [Show full text]
  • The Native American Fine Art Movement: a Resource Guide by Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba
    2301 North Central Avenue, Phoenix, Arizona 85004-1323 www.heard.org The Native American Fine Art Movement: A Resource Guide By Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba HEARD MUSEUM PHOENIX, ARIZONA ©1994 Development of this resource guide was funded by the Nathan Cummings Foundation. This resource guide focuses on painting and sculpture produced by Native Americans in the continental United States since 1900. The emphasis on artists from the Southwest and Oklahoma is an indication of the importance of those regions to the on-going development of Native American art in this century and the reality of academic study. TABLE OF CONTENTS ● Acknowledgements and Credits ● A Note to Educators ● Introduction ● Chapter One: Early Narrative Genre Painting ● Chapter Two: San Ildefonso Watercolor Movement ● Chapter Three: Painting in the Southwest: "The Studio" ● Chapter Four: Native American Art in Oklahoma: The Kiowa and Bacone Artists ● Chapter Five: Five Civilized Tribes ● Chapter Six: Recent Narrative Genre Painting ● Chapter Seven: New Indian Painting ● Chapter Eight: Recent Native American Art ● Conclusion ● Native American History Timeline ● Key Points ● Review and Study Questions ● Discussion Questions and Activities ● Glossary of Art History Terms ● Annotated Suggested Reading ● Illustrations ● Looking at the Artworks: Points to Highlight or Recall Acknowledgements and Credits Authors: Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba Special thanks to: Ann Marshall, Director of Research Lisa MacCollum, Exhibits and Graphics Coordinator Angelina Holmes, Curatorial Administrative Assistant Tatiana Slock, Intern Carrie Heinonen, Research Associate Funding for development provided by the Nathan Cummings Foundation. Copyright Notice All artworks reproduced with permission.
    [Show full text]
  • Inclusive Curatorial Practices: Facilitating Team Exhibition Planning in the Art Mueum Using Evaluative Inquiry for Learning in Organizations Ann Rowson Love
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Inclusive Curatorial Practices: Facilitating Team Exhibition Planning in the Art Mueum Using Evaluative Inquiry for Learning in Organizations Ann Rowson Love Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORDIA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE, & DANCE INCLUSIVE CURATORIAL PRACTICES: FACILITATING TEAM EXHIBITION PLANNING IN THE ART MUEUM USING EVALUATIVE INQUIRY FOR LEARNING IN ORGANIZATIONS BY ANN ROWSON LOVE A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2013 Ann Rowson Love defended this dissertation on May 2, 2013. Members of the supervisory committee were: Pat Villeneuve Professor Directing Dissertation Paul Marty University Representative Tom Anderson Committee Member Jeff Broome Committee Member Linda Schrader Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii DEDICATION To my parents Joseph and Sandra Rowson iii ACKNOWLEDGMENTS I want to thank Pat Villeneuve for her guidance and for supervising this project as my advisor. In the weeks following Hurricane Katrina, Pat welcomed my family into her home and into the doctoral program that led me to this work. I thank all of my committee members for their participation and thoughtful comments throughout this process; thank you to Tom Anderson, Jeff Broome, Paul Marty, and Linda Schrader. To my husband, Eric, who made the move to Tallahassee and supported me throughout my studies and writing.
    [Show full text]
  • Public Art Exhibition Curator
    REQUEST FOR PROPOSALS CITY OF WEST HOLLYWOOD ARTS DIVISION PUBLIC ART EXHIBITION CURATOR Date Released: September 7, 2017 Deadline to Apply: October 11, 2017 City of West Hollywood ART ON THE OUTSIDE REQUEST FOR PROPOSALS (RFP) Public Art Exhibition Curator Santa Monica Boulevard at Doheny Drive Sculpture Park RFQ released: September 7, 2017 Deadline to apply: October 11, 2017 PROJECT DESCRIPTION The City of West Hollywood’s Art on the Outside Program is seeking an arts professional to curate a temporary public art exhibition for the Santa Monica Boulevard at Doheny Drive Sculpture Park. Independent curators and curators representing non-profit art organizations, art centers, galleries and/or museums are invited to develop proposals for an engaging temporary public art exhibition for the City’s primary outdoor exhibition space. Qualified curators will have experience and capability to perform the tasks described in the Scope of Work. Proposals may be artistic, cultural, or popular in nature and may (but are not required to) feature themes related to the City’s unique history. Artworks included in the exhibition proposal should be able to withstand the natural elements and be ready to install in a public setting. Delicate artworks that may be vulnerable to the elements and/or public interaction are not advisable for this setting. The term of the exhibition is expected to begin in February 2018 and conclude in February 2019. ELIGIBILITY This is an open call to arts professionals. Proposals submitted by arts professionals, non-profit art organizations, art centers, galleries, and/or museums for exhibitions of emerging and established artists will be considered.
    [Show full text]
  • Download Article
    International Conference on Education, E-learning and Management Technology (EEMT 2016) Analysis on the Present Situation of the Printmaking Art in Jilin Province of China Fu Liu1, a, Bing Liu1, b, * 1 Academy of Fine Arts, Northeast Normal University, Changchun130024, China a [email protected], b [email protected] Keywords: Printmaking art; Jilin Province; National printmaking art exhibition; Living environment; Creative level; Current situation of education. Abstract. In order to promote the development of printmaking art in Jilin Province, analysis and research with living environment, team situation, institute printmaking teaching scale and awards situation, and carries on the statistics and study of the data. The results show that: In Jilin Province, woodcut print and copper plate print outstanding creation level, but there is a certain gap between the overall development of Zhejiang, Yunnan, Heilongjiang and other provinces, these data statistics and theoretical thinking, for the development of printmaking art in Jilin Province to provide digital support. 1. Analysis of the Present Situation of Living Environment From the perspective of the development history of Chinese printmaking art, three changes have happened. For the first time, from 30s to 1949, this is the revolutionary war period, from the beginning of the new woodcut movement initiated by Mr. Lu Xun, woodcut prints to the creation of conditions is simple, economic cost, making fast, for publication and presentation characteristics has been widely attention and use. A variety of newspapers and magazines that are actively published woodcut art works, in order to make the woodcut art in China gradually popular, has played a huge role in the publicity, with its revolutionary and combat, the art of engraving has made brilliant achievements.
    [Show full text]
  • Official Catalogue of Mini Print 2020 (PDF)
    19TH LESSEDRA WORLD ART PRINT ANNUAL 2020 CONTEMPORARY ART PROJECTS 19th LESSEDRA WORLD ART PRINT ANNUAL – MINI PRINT The Catalogue presents Artists 200 – 38 Countries The exhibition is held September 25th 2020 – January 22nd 2021 Lessedra Gallery 25, Milin Kamak Street, Lozenetz 1164 Sofia, Bulgaria Argentina – 2 Australia – 3 Austria – 6 Belgium – 6 Brazil – 1 Bulgaria – 17 Canada – 9 Chile – 1 China – 1 Croatia – 1 Denmark – 5 England – 9 Estonia – 1 Finland – 6 France – 9 Germany – 11 Hungary – 1 Ireland – 9 Israel – 1 Japan – 23 Korea – 1 Liechtenstein -2 Mexico – 5 The Netherlands – 14 Norway – 1 Poland – 19 Puerto Rico – 1 Romania – 3 Scotland – 1 Slovenia – 1 South Africa – 1 Sweden – 3 Switzerland – 6 Taiwan – 1 Thailand – 1 Ukraine – 2 U. S. A. – 15 Venezuela – 1 Wales – 1 With Special Thanks for the cooperation to: The project is presented on the web www.lessedra.com ALICJA SNOCH – PAWLOWSKA link Annual Associate Professor Dean of The Faculty of Arts Maria Curie Skłodowska University, Lublin, Poland for the Special Presentation of artists – students from the University Publisher: Book cover design: Atanas Vassilev LESSEDRA Gallery & Contemporary Art Projects Concept for the book: Georgi Kolev 25, Milin Kamak Street, Lozenetz and Christophor Krustev 1164 Sofia, Bulgaria Tel.: (++359 2) 865 04 28, (++359 2) 866 38 57 e-mail: [email protected] Pre - press: Christophor Krustev©2018 [email protected] www.lessedra.com Print: Stovi©2019 2020© Lessedra 2 2020 this year no visiting artists no international jury no
    [Show full text]
  • Art & Finance Report 2019
    Art & Finance Report 2019 6th edition Se me Movió el Piso © Lina Sinisterra (2014) Collect on your Collection YOUR PARTNER IN ART FINANCING westendartbank.com RZ_WAB_Deloitte_print.indd 1 23.07.19 12:26 Power on your peace of mind D.KYC — Operational compliance delivered in managed services to the art and finance industry D.KYC (Deloitte Know Your Customer) is an integrated managed service that combines numerous KYC/AML/CTF* services, expertise, and workflow management. The service is supported by a multi-channel web-based platform and allows you to delegate the execution of predefined KYC/AML/CTF activities to Deloitte (Deloitte Solutions SàRL PSF, ISO27001 certified). www2.deloitte.com/lu/dkyc * KYC: Know Your Customer - AML/CTF: Anti-Money Laundering and Counter-Terrorism Financing Empower your art activities Deloitte’s services within the Art & Finance ecosystem Deloitte Art & Finance assists financial institutions, art businesses, collectors and cultural stakeholders with their art-related activities. The Deloitte Art & Finance team has a passion for art and brings expertise in consulting, tax, audit and business intelligence to the global art market. www.deloitte-artandfinance.com © 2019 Deloitte Tax & Consulting dlawmember of the Deloitte Legal network The Art of Law DLaw – a law firm for the Art and Finance Industry At DLaw, a dedicated team of lawyers supports art collectors, dealers, auctioneers, museums, private banks and art investment funds at each stage of their project. www.dlaw.lu © 2019 dlaw Art & Finance Report 2019 | Table of contents Table of contents Foreword 14 Introduction 16 Methodology and limitations 17 External contributions 18 Deloitte CIS 21 Key report findings 2019 27 Priorities 31 The big picture: Art & Finance is an emerging industry 36 The role of Art & Finance within the cultural and creative sectors 40 Section 1.
    [Show full text]
  • Art History: International Art Exhibitions
    FRICK FINE ARTS LIBRARY ART HISTORY: INTERNATIONAL ART EXHIBITIONS Library Guide Series, No. 42 “Qui scit ubi scientis sit, ille est proximus habenti.” -- Brunetiere* What Is an International Art Exhibition? International art exhibitions have a long history that has its roots in the 19th century. Salon exhibitions took place in Paris from 1667 onwards under the auspices of the French Royal Academy of Painting and Sculpture and were held on a biennial basis from 1855 onwards. That same year the Salons were held in the Palais de ‘l’Industrie constructed for the World’s Fair that year. A number of rival salons were established and in 1881 the government withdrew official support from the main Salon and handed over its direction to artists. Afterward, the Salon began to lose its prestige and influence in the face of competition from various independent exhibitions such as the Salon des Independents (1884), the Societe Nationale des Beaux-Arts (1890) and the Salon d’Automne (1903). The end of the 19th century was a time marked by an internationalist spirit that celebrated technological advancement and the accumulation of wealth through global colonial structures. The institution of world’s fairs was one feature of that spirit, the first one being held in London during 1851. Many of the fairs that followed throughout the 19th and 20th centuries included art buildings to display works by the current artists of the day. At times it is difficult to distinguish biennial and triennial art exhibitions from international art festivals, art fairs or trade shows. The first art fair one in the twentieth century was the 1913 Armory Show in New York which was open to progressive painters usually neglected.
    [Show full text]
  • Movement Mondays: Found Object Art Exhibition
    Supplies Tape, Cardboard boxes Instructions Step 1: Think about what kind of art exhibition you want to make. Are you going to include sculptures, 2D images or both? Will you include abstract art, Movement Mondays: representational art or both? Found Object Art Exhibition Step 2: Explore your house. What images or objects look like a work of art to you? Do you have art that you have made or objects that are important to you? Step 3: Once you have collected your objects and images, think about how you want to display them. Curating an art exhibition involves intentionally arranging objects for display. How do your images and objects relate to each other? Is there a story or narrative to tell with your arrangement? How does the content or colors of the objects relate to each other? Take some time to arrange your images and objects. Step 4: Setup your art exhibition area. Find an area in your house to display your found art objects. Be sure to get a parent or guardian’s permission to use tape to tape your images to a wall. Optional: If you have recycled cardboard boxes, use them as stands to display your objects. Search your home for found objects to include in an art exhibition! Step 5: Take pictures of your art exhibition and share them with your friends and family. SEE MORE FUN AT-HOME ACTIVITIES FOR KIDS ON OGDEN MUSEUM ONLINE! Vocabulary QUESTIONS? EMAIL Found object — a thing that someone else has [email protected]. given or thrown away that is often repurposed by artists Sculpture — an artwork made from materials such as glass, wood, clay, metal that is 3D Abstract — an artwork that is comprised of shapes and colors Curate – to select, organize and look after the objects or works of art in an exhibition, museum or an art gallery Narrative — a spoken or written account of connected events; a story .
    [Show full text]