1. University of Iowa Full Time Position Description: The Department of Cinema and Comparative Literature at The University of Iowa invites applications for a tenure-track position that will be filled at the Assistant or Associate Professor level, depending on qualifications and experience. The position will begin in August 2014. We are looking for a Film/Video maker with significant experience in digital documentary filmmaking. The successful candidate might also work in non-fiction and experimental modes of film and video production. This new faculty position is part of Iowa’s Public Digital Arts Cluster initiative. (for more information see: http://now.uiowa.edu/2013/06/new-faculty-cluster-public-digital-arts ). New faculty with expertise in public digital arts will complement the Universityâ€™s considerable existing expertise in these areas to form the core of this innovative multidisciplinary initiative. Participation in the PDA Cluster will be an important component in performance evaluations. Candidates will be expected to teach courses in digital video production and post-production at all levels of the undergraduate and graduate curriculum. Possible courses may range from documentary filmmaking, digital cinematography, and new media to digital animation, 16mm, directing, and screenwriting. Screening begins November 15, 2013. More info here.
2. Unsolicited Proposal ProgramÂ at APEX Art:Â Applications acceptedÂ Oct 11 – Nov 8, 2013Â â€”Â online onlyÂ Submit your idea for a curated exhibition.
Now in its 17th year, apexart’s Unsolicited Proposal Program open call is accepting submissions for exhibition ideas startingÂ October 11, 2013. Three winning proposals will receive funding and administrative support from apexart to present their show in its Tribeca space. Â The Unsolicited Proposal Program asks for idea-based, 500-word proposals for curated shows of three or more artists that examine a compelling idea. Exhibitions can be about any topic that the organizer finds compellingâ€”successful shows have been selected about everything from television to mapping to literature. No prior curatorial experience is required and we invite submissions from people of all backgrounds. Proposals are anonymously evaluated by an international jury of 150 people from all disciplines. Votes are processed through a unique apexart-developed crowd-sourcing computer script to determine which three proposals received the highest scores with no direction or interference from apexart or its staff. Â The three winning exhibitions will be presented in apexart’s 2014-15 season.Â Proposals are accepted online atÂ apexart.org/unsolicited.phpÂ fromÂ October 11 – November 8, 2013. You may also visit this page for FAQs and other guideline details.
3. TheÂ Journal for Artistic ResearchÂ (JAR)Â invites original submissions for future issues from artists worldwide, with or without academic affiliation. The journal is open to submission from all artists who wish to reflect on and expose artistic practice as research, who are interested in exchanging ideas and processes with a group of engaged peers and, thus willing to contribute to the ongoing debate about research in the arts.Â Submissions that should be considered for JAR5 need to be made before November 15, 2013.
JARÂ is a peer-reviewed journal, publishing original research from artists of all disciplines. Published twice a year, with currently four issues accessible online, the journal is unique in its field, marrying the rich-media and social networking capabilities of online publishing to peer-review and scholarly rigour.With the aim of displaying and documenting practice in a manner that respects artistic modes of presentation, the journal uses theÂ Research Catalogue, a free-to-use online tool that allows the weaving together of text, image, audio and video material.JARÂ is open to all possible approaches to the publication of research including those that use little or no text. The Research Catalogue also enables collaboration, allowing multiple authors to work on the same document simultaneously and submit to the journal as a team. Articles that are not accepted for publication inÂ JARÂ can be self-published, free of charge in the Research Catalogue.
JARÂ is a free open-access resource, with an international readership and a growing pool of renowned artistic and academic reviewers. The journalâ€™s issues are non-thematic and submissions are considered by an experienced editorial board, in a rolling fashion, as they are submitted. To submit an article, contributors are required toÂ registerÂ for an account on the Research Catalogue, and use the writing space to layout and expose their research.Â JARÂ provides editorial guidance and technical help with these processes.
Interested contributors should first acquaint themselves with previous issues atÂ www.jar-online.netÂ (the inaugural issueÂ JAR0is a good place to start) and then contact the journal to discuss the suitability of their material and receive advice on progressing towards submission.
The next issue, JAR4, will be published in November.
Send your correspondence to Barnaby Drabble, Managing Editor, Journal for Artistic Research:Â firstname.lastname@example.org
4. Call for Critical Writing Proposals:JARÂ is published by the Society for Artistic Research.
gorseâ€˜s website will publish shorter pieces of criticismÂ , narrative essays and interviews. We are not currently considering fiction or poetry. Please send a query, or the first 500 words of your proposed essay, toÂ info [at] gorse [dot] ie. Work should be previously unpublished. Simultaneous submissions are acceptable as long as you tell us straightaway if your work is accepted for publication elsewhere. We will do our best to reply to all queries, but if you donâ€™t hear back from us within six weeks please feel free to submit to another venue. Please note that as our resources are limited, we are only in a position to offer contributors a token fee. Finished pieces for the website would ideally be between 500 to 3000 words.
We are interested in the potential of literature, in literature where lines between fiction, memoir and history blur (Sebald, Cendrars, BolaÃ±o, Joyce), in experimentalÂ Â writing, in fiction in translation, in the unconventional and the under recognised, in theÂ personal essayÂ (Sontag, Dyer). We are a literary journal equally interested in the arts (fine art, photography, architecture, film, music), in culture, in politics. Weâ€™re looking for smart writing, not academic.
1. â€œI. The critic is the strategist in the literary battle. II He who cannot take sides should keep silent. III. The critic has nothing in common with the interpreter of past cultural epochs. IV. Criticism must talk the language of artists. For the terms of the cenacle are slogans. And only in slogans is the battle-cry heardâ€¦â€Â Walter BenjaminÂ â†©
2. We acknowledge the word â€˜experimentalâ€™ is not without its problems. (SeeÂ John Oâ€™BrienÂ on this point: â€œIfÂ Sternewere writing today, he would be labeled a postmodernist, but what sense would that make, given when he was actually writing? As far as I am concerned, the history of fiction is one of invention, oftentimes playful and conscious of itself, but always pushing limits in terms of what it is and what else it can be. But I absolutely do not think of a Sterne or aÂ JoyceÂ as â€œexperimentersâ€: they didnâ€™t experiment, they made these remarkable books whose ingenuity and art are rarely seen in other writers or matched. Their works are finished and complete achievements, not experiments.â€) â€˜Experimentalâ€™ is not weird for the sake of weird, it is innovation.Â â†©
Created in 1993, Emergency Grants provides speedy funding for visual and performing artists who have unanticipated, sudden opportunities to present their work to the public, or who incur unexpected or unbudgeted expenses for projects close to completion with committed exhibition or performance dates. The grants are intended to support the creation of innovative and experimental work, and are meant to assist individuals and groups when there is insufficient time to seek other sources of funding.
Requests are primarily granted to artists who are “emerging” and have few sources of financial support. Emergency Grants is the only active, multi-disciplinary program that offers immediate assistance of this kind to artists working anywhere in the United States.
Emergency Grants applications are accepted year round; there is no deadline. Applications are accepted online only; please refer to the application requirements below. Grants are determined on a monthly basis by the Emergency Grants Panel, a volunteer committee of established artists. In 2012, grants ranged in amount from $350 to $2,440; the average grant was $1,165. Go here for more information
Don’t forget! Bad at Sports is asking you to pose your own questions to your artworld in conjunction with our upcoming exhibition at apexart. The questions should be videotaped (if you have a Mac, Photobooth should work nicely, otherwise your camera’s video function or your iphone’s video should do the trick too), need only be a few seconds to a minute long, and should contain a question you’ve always had a burning desire to ask of…well, anyone connected to the world of art (provided they’re still alive….although….we have always wanted to conduct spirit seances with the dead….but nah, we’ll save that for another project). We can pretty much accept any video format, but the most ideal is .m4v file format. Once you’ve shot your video, email it to us at
and, not only will we include it in our upcoming exhibition at Apex Art, we’ll go directly to the source to find answers to your questions.
Bad at Sports is coming to apexart in New York, and we’re all giggling with excitement like a pack of schoolgirls. As a collective we are organizing a star-studded exhibition that will run from April 7 – March 22nd and we want you to be there and make your presence known! More advance intel to come via the podcast and here on the blog, of course, but we wanted to start banging the drums and lighting the homefires and whatever the hell else one does to get people all rowdy and enthusiastic about what’s to come.
The exhibition is titled Don’t Piss On Me And Tell Me It’s Raining, but feel free to call it the Bad at Sports show. It’ll be like the podcast, but in three dimensions (or wait, isn’t sound already three dimensions?? This is why I failed that Physics of Music class). There will be tons of works submitted by former guests of the show on view, free giveaways, a special talkback section (more info on this soon) and weekly live events of the conversational sort. Don’t expect any slabs of honey-drizzled meat, golden cakes, or chocolate Koons sculptures at said happenings, but maybe there will be beer?
Here are the deets, hot off the keyboard – stay tuned for info on specific events as they are finalized.
“Part archive, part arts journalism, part in-depth conversation and part record-breaking run-on sentence: the Chicago-based collective Bad at Sports is many things at once, but it is first and foremost a collaboration between artists and their communities. Donâ€™t Piss On Me And Tell Me Itâ€™s Raining provides a visual counterpart to the extensive audio archive that Bad at Sports has amassed over the past five years and 300+ hours of its weekly podcast. Hundreds of small-scale drawings, texts, and other physical objects made specifically for this exhibition will be on view, each piece produced by the artists and other cultural figures who have appeared on the show over the past five years. Numerous live interviews, panel discussions and performances, many of which will be recorded for future broadcasts, will also take place in the gallery on a twice-weekly basis. In addition, a special â€œtalkbackâ€ section of the exhibition asks viewers to direct their own questions to art world personages, thereby enabling audiences to take part in the sprawling, provocative, irreverent and timely conversation that is Bad at Sports.”