1. Oxbow Development Coordinator
Ox-Bow is seeking a Development Coordinator. This full-time position based in downtown Chicago with occasional trips to the Saugatuck, Michigan campus.
The Development Coordinator works with the Executive Director and Development and Marketing Director to implement and support key initiatives (appeals, events, cultivation and stewardship activities, etc). This position’s primary responsibility is to provide integral support for Ox-Bow’s fundraising and donor marketing efforts (with annual targets of $1.5 million and growing) and join a vibrant, creative Ox-Bow team. The Development Coordinator reports directly to the Development and Marketing Director. (more here)
2. New Urban Arts in Providence, Rhode Island is accepting applications for a new Director of Programs.
We seek a candidate who believes in the power of creative practice and lifelong learning. The complete job posting follows.
Founded in 1997 with seed funding from the Echoing Green Foundation and Brown University’s Swearer Center, New Urban Arts is a nationally recognized arts studio and gallery for high school students and emerging artists in Providence, Rhode Island. Our mission is to build a vital community that empowers young people as artists and leaders to develop a creative practice they can sustain throughout their lives. We have been recognized as a national model for engaging underserved teenagers through the arts.
The President’s Committee on the Arts and the Humanities has given New Urban Arts a Coming up Taller Award, the nation’s highest honor for youth arts and humanities programs. We were one of only nine organizations selected to participate in ARTOGRAPHY, a multi-year national Ford Foundation-initiative documenting and disseminating the artistic and organizational practices of exemplary diverse community-responsive arts organizations. Each year we serve over 300 high school students, 25 emerging artists and 2,000 visitors through free youth programs, professional development, artist residencies, public performances, workshops and exhibitions. We have a permanent staff of six and an annual operating budget of over $450,000.
The Director of Programs designs, manages and oversees year-round arts mentoring programs for high school students and emerging artists. S/he connects with the community (especially high school students, artist-mentors, parents, and school personnel) to create a learning environment that conveys a sense of belonging, risk, and responsibility. S/he works closely with the executive director to assess the effectiveness and ensure the feasibility of programs. S/he strives to foster a rewarding workplace that is stimulating, trusting, and results-oriented, where the mission of New Urban Arts can thrive. The Director of Programs reports to the Executive Director. (more here)
3. Go to Paris and get paid for it via The Georgia Fee Artist/Writer Residency. Application period closes August 16th.
The Residency is open to visual artists of all mediums, art writers and critics, 24 years or older. Recent graduates are especially encouraged to apply. The selection will be made based on the merit of past work and the potential for future success, the ability to independently develop new work, and the proposed project’s relevance to the city of Paris. Recipients will be required to maintain a blog, which will be posted on ArtSlant.
The Georgia Fee Artist/Writer Residency in Paris provides the recipient with lodging for 2 months in an apartment in the 14th arrondissement, travel to and from Paris, and a stipend to be used for studio space, materials, and other costs.
For Frequently Asked Questions on eligibility, submission guidelines and materials, please check here.
3. a.pass is an artistic research environment that develops research on performativity and scenography, in an international artistic and educational context. NEXT CALL FOR PROJECTS: APPLY BEFORE THE 1st of SEPTEMBER 2013
a.pass offers a one-year artistic research training program at post-master level for artists and theoreticians, based on the principles of self-organization, collaboration and transdisciplinarity. a.pass participants develop an independent artistic research project, with a personalized curriculum in a shared and collectively created research environment.The a.pass artistic research center develops, documents and archives tools for qualitative and relevant artistic research practices. The research center uses this growing archive to communicate and interact with the artistic and educational field and functions as a forum for the development of a critical approach on artistic research. a.pass emphasizes the relation between the research practices and a broader societal field, and encourages engaged transdisciplinary practices.
In the context of its artistic research center, a.pass offers a tailor-made PhD trajectory for doctoral students that gives the possibility to develop the practice-based part of their PhD research in collective research environment. More info here.
Calle 13 #25 Col. San Pedro de los Pinos, 03800 Ciudad de México. SOMA offers a two-year program for training contemporary artists based on continuous exchange between young artists and established professionals through courses, workshops, one-on-one critiques and studio visits. SOMA’s faculty comprises artists, theorists, and curators with extensive experience in their fields, both nationally and internationally. This program is for students who have already completed a bachelors degree in visual arts or related studies. All students accepted into the program area are granted a scholarship of 80 percent of the total cost of attendance. Check it out here. (All classes are conducted in Spanish.)
Good public transit is the hallmark of a civilized city. One of the things I love most about Chicago is the train system. Both the Chicago Transit Authority’s “L” and the Regional Transportation Authority’s Metra are fantastic examples of how efficiently people can be transported from hither to yon. You can, if you wish, take this with a grain of salt seeing as I hail from the Pacific Northwest where public transportation is craptastic, save for the stellar ferry system. But it’s more than just getting to work or the grocery store that makes me loves these trains—it’s the history. Most people would find it impossible to conjure an image of Chicago without also envisioning the elevated train line that rings our downtown. This is why last weekend, my friends and I headed to Union, Illinois to visit the Illinois Railway Museum.
The IRM’s grounds are much bigger than I was expecting and are designed for visitors to spend the day there. There are pick nick tables and a little diner that sells burgers and hot dogs. There are nice, clean restrooms and vending machines with water and pop. Bring sunscreen and sun hats, though. Museum to me says “inside,” so I was surprised by how active the site is and how much time we spent outdoors. There is a 15 minutes trolley ride that coveys its passengers around the perimeter of the museum grounds. You can get off and on at any stop. It’s a great way to get your bearings and see what the museum has to offer. The old CTA trolley is one of the originals that ran in the Loop until the trolleys were replaced by buses in the late 1940’s The interior is meticulously restored complete with excellent original advertisements, pretty much exactly like the ones on the Red Line today, except cooler because they’re vintage.
In addition to the trolley, there are working trains that run on tracks at the edge of the grounds. The collection includes electric, steam, and diesel trains but they are run only on certain days, so if there’s a particular train you’d like to ride, be sure to check the schedule. The train rides are included in admission and take about 40 minutes each. The day we were there, two trains were running, which we didn’t budget our time for. There are also Thomas the Tank Engine Days throughout August. I’m not exactly sure what that means, but the website makes it seem very popular and there are, of course, train rides for the kiddies.
In the center of the museum grounds are large pole buildings that each hold numerous train cars. There are many different kinds of train cars: passenger, sleeper, roomette, dining, and bar car. These cars are from different manufactures and over many years. Passing from one car to another is like moving through time. I enjoyed seeing the cars with the crappy 80s facelift. Many looked as if they had just been pulled out of service. But of course, the old ones were the most fun. The little tiny roomettes!!! The Transformers of sleeper cars. My favorite cars were the oldest ones that had not been restored. These you couldn’t walk through, but could only view from behind a rope. Part of what is so interesting about these is to be able to see how the patterns of wear, what had disintegrated, and what looked new.
Scattered throughout the building and grounds are other attendant train paraphernalia. I was outraged to see my train, the train that stops on my block used to run to Milwaukee. I’d heard this before from a conductor, but to see the map with my own eyes was somehow different.
The Illinois Railway Museum is a fun day out for everyone. Well, everyone who likes public transportation. The entrance fee is about the most confusing thing I’ve ever seen. There are free days, many days it’s ten bucks, except during the peak season, when it’s more, and it costs more on days when there are special events. They also have a family maximum fee of fifty bucks, which might be good if you’ve got a passel of kids. Check it out for yourself. You will never take your commute to work for granted again.
Guest post by Mark Sheerin
It is more than 1,000 miles from Luton, England, to Reykjavik, Iceland. But Dominic from the UK town appears to love a good caper. Why else would he put together a group show on very little money in one of the most far flung and expensive cities in Europe?
“It was done on a wing and a prayer,” he tells me on the phone from his Luton studio. “The art was just really, really ambitious considering we didn’t have much money to play with. It’s amazing what you can do with a cardboard tube and a delivery van.”
Five artists took part. And the show has just run for a month at gallery Kling & Bang. Along with Dominic, the full bill included Gavin Turk, Mark Titchner, Laura White and Peter Lamb. The show went by the name London Utd. “It’s kind of doing what it says on the tin,” says Dominic, whose eponymous town is just a twenty minute train ride from the UK capital.
Not that he is the first to cross the Atlantic to the artist led space. He tells me that Paul McCarthy and Jason Rhoades have also shown at the dynamic and co-operative venue. And Dominic takes the opportunity to recount the tale of Kling & Bang’s legendary appearance at Frieze Art Fair.
“They did a Frieze Project in London in 2008 called Sirkus. It’s an incredible story,” says the artist, telling me that Sirkus was the name of a Reykyavik bar: “This place was the hub, the heartbeat of the arts community”. But after nine years of business, Sirkus closed down, leaving Kling & Bang free to turn the façade and fixtures into a temporary installation for the art fair.
Dominic warms to his tale: “They arrived at Heathrow in October 2008 and basically all their credit cards had been stopped because the [Icelandic] crash had suddenly happened overnight and so this bar, which was a mirror of good times and place to meet, became that again in London.” Word soon went round about the penniless Icelanders with the reconstructed bar.
Things are a bit better in Reykjavik now and in its way London Utd has become another bridge between the art scenes in both cities. Mark Titchner’s piece was a piece of text in Icelandic, which read The World Isn’t Working. (Perhaps the UK crash is yet to come.)
Gavin Turk meanwhile offered a twelve and a half metre diptych inspired by Andy Warhol’s Death and Disaster series and featuring the four wheeled emblem of working class Britain the Ford Transit. Laura White produced no less than 54 drawings of photos of sculptures which she herself had made. And Peter Lamb translated the shifting detritus on his studio floor into two large abstract canvases.
Asked about one of his own works in the show, Dominic is ready with another yarn. “That photo was done as a tribute to Paul Young,” he tells me. Like the artist, the singer came from Luton. “He used to work at Vauxhall [car plant] in the early 80s and he told someone I know in the canteen once that he was going to be a global pop star and then literally 18 months later he was, with Everytime You Go Away.”
The track resonates with many a Lutonian and inspired a Dominic from Luton performance at an event called Café Almanac organised by Bedford Creative Arts. This involved sourcing an 80s wig from Luton Indoor Market, posing for a portrait artist in the shopping centre and getting 5,000 badges made to cover a cheap suit. “I just stood up in front of about 50 people in this Working Men’s Club on a Saturday afternoon and sung my heart out,” recalls the artist.
This took place under a net filled with 200 balloons in the colours of the local soccer team, intended for release in the final verse. However “The net got caught in all of my badges so I had 200 balloons attached to me and I panicked and – it wasn’t scripted at all – I basically ended up having a fight with these balloons and stamping on them and stuff and it brought the house down actually.”
But despite the hazardous stagecraft, Dominic’s “biggest challenge” is a self-proclaimed inability to sing. So it comes as no surprise that the artist thinks most performance art is too earnest. “People would argue with this, but I think there’s a duty to entertain,” he says, “That’s just my take on it. That’s my little mantra.” Even the anecdotes which relate to each of his gigs are compelling experiences.
As a final aside, it’s worth pointing out that the artist formerly known as Dominic Allan comes from one of the most derided towns in the UK. His “from Luton” tag is a sticky piece of cultural baggage. Dominic tells me that the name just came about through being easy to remember when he ordered materials.
Now, he claims, “It’s just a very glorious vehicle for the idea of the underdog and also to shove it back in people’s faces now because Luton’s one of those towns which people laugh about . . . The more I go on, the more I realise that it is serious, and it is serious”.
So that’s Dominic, from Luton, easy to laugh with, hard to laugh at. Prepare to be entertained if he ever comes to your town.
Mark Sheerin is an art writer from Brighton, UK. He can also be found on Culture24, Hyperallergic, Frame & Reference and his own blog criticismism.com
Over the weekend, I visited Gamut Gallery in downtown Minneapolis to see Flag Show curated by Lauren Thorson. It was a quiet afternoon, so I spent as much time as I wanted looking at the 23 flags from local and international artists. I even had a tour of their electronic music classroom. The whole experience was normal and wonderful enough, but the problem started when I went to write about the show. As I was writing, I had a dream I was at a poetry reading. It was the most awesome, the funniest poetry reading I have ever been to, and I had to drop everything I had already written to write about it here. When I woke to rain blowing in the windows, I could no longer remember what had been so awesome, and attempting to decipher my notes led nowhere. The dream has stuck with me over the past few days, lingering in the back of my mind, tempting me with the promise of some deeper meaning between the reading and the flag show.
As much as I dug for that meaning, the promise is empty. There is not any deeper meaning to the dream; the dream reading is exactly that. Its lingering around the edges, however, has made me think more deeply about memorable dreams, the ones that wake you with wonder or fright or joy or confusion. They are the dreams we want to tell everyone about, the dreams full of awesome poetry readings and killer parties thrown by Samuel Beckett. They leave us in the morning feeling the vast difference between dreaming and waking life, and they leave us thankful for both.
My favorite dreams these days are the ones closer to life, the walks down familiar streets, the supermarket with fluorescent lights. In the morning, they are clearly dreams too, but I wake to contemplation instead of surprise or relief. Those closer to life dreams linger in my brain longer, maybe because they are easier to remember, maybe because they blur the line between my waking and dreaming lives. The flashier dreams make more of an immediate impact, but the normal dreams burn much longer and slower.
Flags are meant to be visible and memorable, to represent some message, some place, someone. The artists in Flag Show use flags to call attention to the reality and complexity of waking life. Adam Setala’s I Promise To Not Kill You layers visual and textual cues to confuse who is safe from whom. Brian Walbergh’s White Flag for Misplaced Teenage Angst #1 and #2 carry the weight of personal and societal histories in their visibly heavy denim. Lea Devon Sorrentino questions the differences between long-distance and digital communication with #Semaphore.
Other flags in the show leave me with questions, ask me to look harder at what I assume is objective reality. Maison Nue’s NEMO is the unreachable (vacuum sealed) flag of the unreachable Nemo Point. Michael David Franklin’s beautiful, Christine Jorgensen inspired I Don’t Need the Opinions of Others, I Have My Own was so large it was hung over the door, blowing in the air conditioning. It was hidden until after I saw the rest of the flags, and it is the flag that continues to unfold questions in the corners of my mind.
Long after I have left the gallery, I am still wondering: how do flags represent our public and private lives; how do flags shape the future; how else do we lay claim to imagined places; what would NAVA think; does the dream supermarket contain products I can use in waking life?
Organized by Executive Director Solveig Øvstebø.
The Renaissance Society is located at 5811 S. Ellis Ave. 4th Floor. Reception Friday, 7-10pm.
Work by Chaz Evans, Amber Ginsburg, Mothergirl, Jake Myers, Hoyun Son, and Latham Zearfoss.
Chicago Artists’ Coalition is located at 217 N. Carpenter St. Reception Friday, 6-9pm.
Work by Bea Fremderman, Brian Khek, and Micah Schippa.
CourtneyBlades is located at 1324 W Grand Ave. Reception Friday, 6-9pm.
Work by Mehdi-Georges Lahlou and Arianne Foks.
Defibrillator Performance Art Gallery is located at 1136 N. Milkwaukee Ave. Reception Saturday, 8-11pm. $10.
Work by Tyler Krasowski.
AdventureLand Works On Paper is located at 1513 N. Western Ave. Reception Friday, 7-10pm.