September 7, 2013 · Print This Article
1. Hatch Project: Curator Application deadline: September 8, 2013 Fee (USD): $15.00
HATCH Projects is a yearlong, juried incubator for contemporary Chicago artists and curators that strives to support an ecology of curatorial and artistic practice. A pioneering initiative of Chicago Artists’ Coalition (CAC), HATCH Projects fosters shared experimentation, exchange and creativity to produce ground-breaking exhibitions and programs.
Four Curator Residents are accepted into the program based on an application evaluated by four leading and established Mentor Curators (To be announced). Curator Residents are then responsible for selecting the twenty-four Artists Residents. Each Curator Resident manages a group of six artists for the year to realize three innovative and experimental exhibitions and public programs at CAC. In addition, curators receive professional development through feedback from and working with Mentor Curators, as well as through conversations and critiques with an active peer-to-peer creative network. Through this unique hands-on experience and mentorship program, curators develop valuable insight and experience in contemporary exhibition making. Read about it here.
2. Vermont Studio Center Fellowship Awards Deadline: October 1, 2013
The Vermont Studio Center is excited to announce 31 fellowship awards for artists and writers – including 16 awards open to all artists and writers working in any genre/medium –available at our upcoming deadline. Applications must be received by October 1, 2013. Visit www.vermontstudiocenter.org/fellowships for more information and eligibility details.To apply, visit www.vermontstudiocenter.org/apply, or vsc.slideroom.com.
3. Princeton University – Visiting Fellow – Hodder Fellow Deadline: October 1, 2013
The Hodder Fellowship will be given to writers and non-literary artists of exceptional promise to pursue independent projects at Princeton University during the 2014–2015 academic year. Potential Hodder Fellows are writers, composers, choreographers, visual artists, performance artists, or other kinds of artists or humanists who have “much more than ordinary intellectual and literary gifts”; they are selected more “for promise than for performance.” Given the strength of the applicant pool, most successful Fellows have published a first book or have similar achievements in their own fields; the Hodder is designed to provide Fellows with the “studious leisure” to undertake significant new work.
Hodder Fellows spend an academic year at Princeton, but no formal teaching is involved. A 75,000 USD stipend is provided. Fellowships are not intended to fund work leading to an advanced degree. One need not be a U.S. citizen to apply.
Applications must be submitted by October 1, 2013 through the Princeton Jobs site athttp://jobs.princeton.edu/, requisition # 1300448
Submit a resume, a 3,000-word writing sample of recent work, and a project proposal of 500 to 750 words.
Performing and Visual Artists:
Submit a resume, a project proposal of 500 to 750 words, and examples of ten minutes of performance through link(s) to sites such as YouTube, Vimeo, Flicker, etc. Visual artists should provide up to 20 still images saved as a PDF file and submit as part of their online application or supply a link to a website, YouTube, etc.
We cannot confirm receipt of applications nor can we accept applications submitted after the deadline. Limits on the statement size (500-750 words) and sample size (3,000 words) are strict.
The appointment of the Hodder Fellows will be made in January 2014.
An announcement of the award will be posted on our website:
4. Travel Grant!: Roberto Cimetta Fund Deadline: 30 September 3013
The General Fund is open to all requests for travel grants that respect the eligibility criteria of RCF, whatever the destination of travel, the artistic discipline or the direction of mobility. The General Fund functions on an annual basis which means that candidates can apply for the March session and to the other sessions in June and September depending on the funding available.
Some grants for travel from the South on the General Fund are provided by the European Union as part of the Istikshaf programme.
The Conseil Général des Bouches du Rhône and Marseille-Provence 2013 provide funding on two specific funding lines. Details concerning these funding lines are provided on the Cimetta Fund website http://www.cimettafund.org
Artists and cultural operators living and working in Europe, the Middle East and North Africa can apply in Arabic, English or French. Priority is given to mobility from the South and East of these regions.
The results are announced as follows:
Fourth session: 1st December 2013 (Deadline for receiving applications: 30/09/2013)
If you want to apply, please visit the Roberto Cimetta Fund’s website and fill in the contact form on the website www.cimettafund.org. The office of the Fund will send you the link to the online form to fill out.
This week in the podcast realm of Bad at Sports: I had the great opportunity to sit down and talk with Claire Doherty in Portland this last May. Doherty was a keynote speaker at Open Engagement where we met. She initiated Situations, where is is currently the Director, in 2003 following a ten-year period investigating new curatorial models beyond conventional exhibition-making at a range of art institutions including Ikon Gallery, Birmingham, Spike Island, Bristol and FACT (Foundation of Art and Creative Technology), Liverpool. Listen to our discussion about art in public space, alternative models for funding and curatorial practices here.
Edition #16 came in this week with notes about the magnetic field of Roger’s Park galleries, the pilot episode of “Better Luck Next Time,” (a newlyweds-style game show for artistic duos), dispatches from ACRE, and noted recent popularity of the sahrong. That and much much more here.
Paul King kicked things off on Monday with a vivid description of Protues, an a-typical, evocative video game:
To move past the title screen and into the game, you begin by clicking the silhouette of a distant island. After fading, the screen opens from a murky black into a gently disappearing elliptical shape, as though you were slowly opening your eyelids. You’ve awoken in what appears to be an endless ocean, a muted sea-green punctuated by the gentle lapping of white reflections. In the distance, you begin to make out the outline of a shrouded landmass. As you trudge towards it, the only anchor in the game’s ceaseless sea, you can practically feel the sunlight of the raincoat-yellow orb shining in the sky.
Everything in Proteus is rendered in a blocky, colorful style that should be familiar to everyone who’s ever seen an early pixelated video game. (Think the “ball” of pong, or the sharp edges of Mario.) But the style isn’t due to a lack of processing power or graphical method; instead, the world’s lack of texture translates into a picturesque canvas of flat colors, almost as though you were gazing directly into a visual interpretation of one of Brian Eno’s ambient tracks.
This week, James Pepper Kelly submits The Greatest Proposal for hi-fiving high culture, via an imaginary embodiment of Judith H. Dobrzynski and James Durston:
Imagine that a writer named Judith H. Dobrzynski boards a plane. She’s ambivalent about her recent op-ed for the New York Times, “High Culture Goes Hands-On,” in which she mourned the loss of a classic, passive museum experience. The response was decent (63 comments and a spot on the “most-emailed” list), and the negative response didn’t go much beyond baseless ad hominems (“crank,” “elitist”). But real-world impact? Judy sighs. She tries not to think about institutions these days, their obsequious rush to digitize, crowdsource, and create a “fun experience” for all. Instead, she thinks about real change: about her upcoming fellowship at the Salzburg Global Seminar in Austria, and how she helped influence the country’s new Holocaust restitution laws. Judy sinks back into her business class seat (being a Fellow has perks!), orders a tomato juice and relaxes, thinking of all the reading she’ll be able to catch up on in the air.
Juliana Driever interviewed Chris Stain who’s “characteristic large-scale murals evolved out of his practice as a graffiti writer, and stand today as a kind of contemporary nod to WPA-era portraiture, featuring the faces and plights of everyday people in all of their affecting, confrontational realism.” When asked about how graffiti has changed since the 80′s, and whether there is a difference between graffiti and street art, Stain replied:
In one sense it’s all art but there are different energies to what is known as “graffiti,” mostly lettering based primarily using aerosol paint, and “street art” which runs the gamut of various mediums. As for the letter-based movement, it has changed quite a bit since the 80’s. Technically, its reached levels unimagined back then through the help of all the newer spray paints on the market with lower pressure and cap options. The introduction of the internet helped styles develop more rapidly as it was easier to access photos from all over the world, get new ideas, and spark creativity.
I reposted an interview with EXPO’s Stephanie Cristello, and Bad at Sports’ own, Richard Holland and Duncan MacKenzie. They discuss the upcoming newsprint publication Dana Bassett is spearheading, exactly how much gossip said paper will contain, and the interviews Bad at Sports will be conducting on site at the art fair:
Duncan MacKenzie and Richard Holland of Bad at Sports are two of the best in town to talk with about art. Known for their witty commentary and contemporary art talk platform Bad at Sports, they are most admired for their weekly podcasts and blog. The three of us sat down to discuss their involvement with EXPO/2013 – the recent venture of a newspaper that will be distributed throughout the fair spearheaded by What’s the T?columnist Dana Bassett entitled The EXPO Register, and the live interviews they will be fielding from their booth next to the /Dialogues stage. The lineup for this year’s panel is impressive, titled “One-on-One,” just one of many sports puns, MacKenzie and Holland will be in conversation with gallerists, directors, and curators, such as Solveig Øvstebø of the Renaissance Society, Elysia Borowy-Reeder of the MOCAD Detroit, and Director Charlie James, as well as artists William Powhida, José Lerma, and Sanford Biggers. While the details of these interviews are kept secret (you will just have to see them in person to find out), our conversation breaches the extent of Bad at Sports coverage at the fair, their plans for the paper, and MacKenzie and Holland’s bucket list – like an interview about interviews, or something along those lines.
Monica Westin interviewed Zach Cahill about the third and final installment of ”his epic USSA 2012 project,” presently on view at the Smart Museum and now called USSA 2012: Wellness Center: Idyllic—affair of the heart. In this interview Cahill composes as imaginary travel brochure for the USSA, flowers on facebook, and art mourning:
I mean I very much like the direct experience of being in front of an art work, but I enjoy being haunted by art works too…a visceral quality that occurs with the work of some of my favorite artists…they infect me and I can’t stop thinking about it…Ideally, I’d like my work to do both: give off an affecting sensation for the viewer and to haunt them after they walk away from it… my work wants to have its cake and eat to….
And last but not least, I posted a series of upcoming opportunities including the call for Anchor Graphics’ Artist in Residency program at Columbia College. That and much more here.
1. Chicago Printmakers! Check it out:Anchor Graphics Artist in Residency at Columbia College * Completed entries must be received by September 28, 2013 * Notice of acceptance will be emailed by November 4, 2013. * The residency dates will be scheduled by arrangement
Anchor Graphics is offering 9 three-week residencies this Fall/Winter/Spring from December, 2013 though August 31, 2014. The residency is intended to provide time and facilities for an artist to work on a specific project. This residency is directed towards emerging or mid-career artists proficient in print-media. The selected artist will be provided with shop time, space and some resources to work on projects as articulated in their proposal. More info here.
2. Want to write for an LA art mag? Deadline for submissions: September 3, 2013. Publication date: Fall/Winter 2013
VIA Publication is now accepting submissions for Issue 02. We are open to many forms of content: essays, photography and text, interviews, reviews, and bodies of work. We ask that all written submissions relate to contemporary art, music, and food culture in or around Los Angeles. Please submit a 500 word proposal, supporting images and a writing sample to email@example.com
3. And another writing call (but you have to send pitches today) submit to Rattle – A Journal at the Convergence of Art and Writing
We are very pleased to now be inviting submissions for our fifth issue of Rattle — A Journal at the Convergence of Art and Writing. For our fifth issue the submissions guidelines remain the same as previously, and can be found at our website: http://rattlejournal.org.uk/submissions/ Rattle is a journal of art, writing and thought. Submissions may include, but are by no means limited to, theoretical and critical writing, page-based artworks and projects, reviews, fictions and poetry. We are actively seeking innovative approaches to working on the page. Interesting and unusual submissions are encouraged regardless of their form or subject. In the true spirit of Rattle, we particularly encourage submissions of collaborative work, projects in series and pieces which develop innovative ways of bringing image and text together. Guidelines and past issues here.
4. KRANFilm Resident: OPEN CALL for curators and researchers in video and film art. Deadlines 10th September 2013, and 24th September 2013.
In October and November 2013, KRAN Film is organising in Brussels two residencies for cultural operators, with a particular interest in independent, non-commercial video art and art films. During the period of 10 days, each resident will have the opportunity to visit Flemish film and video archives (Argos, VAF, Cinematek, Plus-tot te laat, Cinema Nova, Auguste Orts, 68septante, Kran Film); meet Flemish film makers and film professionals; deliver a lecture, debate or presentation at the RITS School of Arts; and present a screening programme at Beursschouwburg. In total, two residents will be selected – one for the October and another for the November residency. The residency offers travel costs to Brussels (return ticket – limited amount), accommodation, per diems, fee and a small budget for screening rights costs. check it out here.
5. Registration has begun for the Hand-in-Glove 2013 Conference in New Orleans hand-in-glove.org
Press Street is proud to be the host organization for Hand-In-Glove 2013, a national conference for independent visual arts organizers working at the crossroads of creative administration and studio practice. Hand-in-Glove 2013 will take place in New Orleans Thursday, October 17 through Sunday, October 20, 2013. Hand-In Glove is an itinerant conference started in 2011 by ThreeWalls in Chicago, IL for artists and organizers participating in a national dialog on creative activity happening outside of traditional institutions. The conference aims to facilitate supportive and deepening conversations on the pragmatic realities and imaginative possibilities of organizing exhibitions, re-granting programs, publications, residencies, public programs, platforms for projects, and a variety of other programming that challenges traditional formats for the production and reception of art at the grassroots level. The conference welcomes spaces and projects that are self-organized, independent, and noncommercial. It also welcomes organizations that started small but have grown big, retaining the artist-run values and priorities that were a part of their founding. More on that on their website here.
6. Akbank Sanat is pleased to announce the second edition of the International Curator Competition. Curators are invited to submit proposals by September 10, 2013.
Started in 2012, Akbank Sanat International Curator Competition has the goal to provide support for emerging curators, reinforce interest in curatorial practices, and encourage new projects in the field of contemporary art. The winning curator is given opportunities to realize the proposal as an exhibition that will take place in the first half of 2014 at Akbank Art Centre, Istanbul, accompanied by an exhibition catalogue and additional activities. The curatorial fee, the exhibition production, travel expenses of the curator/s and artists, the production of the catalogue and the additional activities will be covered by Akbank Sanat. Details can be found here.
August 30, 2013 · Print This Article
Stephanie Cristello published an interview with Richard Holland and Duncan MacKenzie on The Seen recently to talk about Bad at Sports’ plans for EXPO, including the upcoming print publication Dana Bassett is spearheading and the various interviews we will be conducting on site at the fair.
BAD AT SPORTS // INTERVIEW
Duncan MacKenzie and Richard Holland of Bad at Sports are two of the best in town to talk with about art. Known for their witty commentary and contemporary art talk platform Bad at Sports, they are most admired for their weekly podcasts and blog. The three of us sat down to discuss their involvement with EXPO/2013 – the recent venture of a newspaper that will be distributed throughout the fair spearheaded by What’s the T? columnist Dana Bassett entitled The EXPO Register, and the live interviews they will be fielding from their booth next to the /Dialogues stage. The lineup for this year’s panel is impressive, titled “One-on-One,” just one of many sports puns, MacKenzie and Holland will be in conversation with gallerists, directors, and curators, such as Solveig Øvstebø of the Renaissance Society, Elysia Borowy-Reeder of the MOCAD Detroit, and Director Charlie James, as well as artists William Powhida, José Lerma, and Sanford Biggers. While the details of these interviews are kept secret (you will just have to see them in person to find out), our conversation breaches the extent of Bad at Sports coverage at the fair, their plans for the paper, and MacKenzie and Holland’s bucket list – like an interview about interviews, or something along those lines.
Stephanie Cristello: Let’s start off by talking about some of the things you’re doing for the fair. You’re working with Dana Bassett to publish a newspaper reporting live?
Duncan MacKenzie: Yes, the newspaper is going to be called The EXPO Register and reflects our collective style – slightly goofy, a touch irreverent, yet fairly straight ahead. The great thing about working with Dana is that she has the same wry sense of humor as us, which will definitely be a part of it, but it will also be a sincere tool for the fair goers.
Richard Holland: At Bad at Sports we are slightly irreverent, but not extensively. We are respectful of our guests – we will make fun of them now and again, but at our core, we are the fan club newsletter. This newspaper will be a different side of that effort.
SC: So you will be reporting on trends, how much gossip is there going to be?
DM: 98% trash! No – there will be a chunk of it that’s gossip, but it’s light.
RH: We’re just trying not to get sued, that’s why we don’t have comments on our site anymore. After the fourth time we got threatened with a lawsuit…
August 25, 2013 · Print This Article
On the podcast this week, Bad at Sports celebrates 8 years, wrapping up the latest season with the Artist as Arbiter panel from CAA 2013. Featuring moderators: Duncan Mackenzie and Shannon R. Stratton, along with panelists: Anthea Black, Laurie Beth Clark & Michael Peterson, E. G. Crichton, Reni Gower, and Philip Von Zweck. That’s all right here.
The week began with a great essay by Robert Burnier on the subject of bodies in space, beginning with minimalism, reflecting on Hesse, Samantha Bittman and more as a way to reflect on Burnier’s own artistic practice:
As I was walking through the Modern Wing at the Art Institute of Chicago not long ago, I noticed a late Donald Judd, Untitled, 1989, on view. A wall-mounted, boxy, red and black sculpture, vacillating between image and object, I found myself walking around it, going from side to side, taking it apart in my mind. Despite its seeming simplicity, the work drew me deeper into the implications of its facture. From a slight distance, it looks virtually immaculate – by the standard of most artistic mark making, it is. Of course this was typical of minimalist work from this artist and others of the 1960s. The shapes have a certain predictability verging on total blandness, like a Steelcase office desk. One reads about the importance of the gestalt of this experience from artists like Robert Morris, which he believed lead to a more holistic, unified apprehension of the object. “Unitary forms do not reduce relationships,” he says. “Rather, they are bound more cohesively and indivisibly together.” On the one hand, the rectangles empty out the object, being everything and nothing, though they might lead to some kind of mathematical spiritual reverie. Yet on the other, in this particular work by Judd, we can perceive a distance from aspirations toward a unified experience in a few ways. Looking closer at the surface – the fasteners, the corners, the paint – I feel a certain fascination for its proximity to, and utter failure to join, that virtual phantom world of forms. The “resemblance” to an imagined perfection makes the distance from this realm seem all the greater.
I always think of San Francisco as a place built on idealistic fancy. With its identity still fixed to the 60s, combined with the more recent influence of dotcom entrepreneurs make it a specific site with a specific history. But also, it is simply as far west as one can get before crossing a sea. News from San Francisco via Jeffrey Songco who walks and talks the Mission neighborhood, covering a variety of exhibits currently on view:
Sprinkled throughout this urban grid are several art venues. From private galleries to non-profit spaces, the Mission is an eclectic mix as diverse as its inhabitants. The tech folk have yet to share and indulge their economic prosperity with the artistic community of the Mission, but eventually some kind of connection will be made. Until then, these art venues continue to produce and shape an active voice in the shape of San Francisco’s cultural identity albeit in the shadow of technology’s spotlight.
Meredith Kooi continues to post on performative movement from her Atlanta roost, thinking this time about Utopia:
This July, I participated in the gloATL Summer Intensive. gloATL is an Atlanta-based dance company that creates physical installations for the public. During the Intensive, there were six of these installations that focused on the concept of utopia for a series of “utopia stations” that was part of its series Liquid Culture: a collection of gestures and sensations from an asphalt perspective that had occurred during the summer for the past few years; this summer was the last of these installations. Lauri Stallings, the choreographer and founder of gloATL, considers these performances installations – physical and public installations; the series is described as “physical installations [that] are unveiled as public utopia stations for arriving, leaving, and staying for awhile.” 
Thomas Friel writes about his experience at ACRE this week, also in reference to Utopia:
Utopia as a reality is impossible to sustain, as human drama will eventually overcome and surmount a perfect existence. Some asshole always finds a way to get his agenda to the top of our concerns. Instead, what may be proposed here is a part time utopia: a form that allows a brief exposure to a utopian system in a format that seems possible. Likewise, the temporal nature of the system actually allows it to thrive, as human nature never gets the chance to ruin it. Able to geographically remove ourselves from city life we could fit within a more fulfilling life in this part time utopia; a utopian model which recognizes the inevitable failure of utopias. In the span of a two week residency, utopia can exist. We started to get it. Hammering it home was Ukiah, a six person artist collective from the Bay Area, who leave their day jobs once a week to build a cabin out of fallen timbers and mud on a ranch property. What does it mean to have a part time or temporary utopia in the context of art? Does this mimic how art is often made, in spurts of spare time, extracted from the pressures of the real world? Could a model of a part time utopia be sustained on a personal level? Is the idea of utopia important to the creation of art? Is its manifestation proof that art can create social change, or merely a distraction from art making? Do you really want to live forever? Alphaville lyrics reprinted without permission?