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 University’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 Program at APEX Art: Applications accepted Oct 11 – Nov 8, 2013 — online only 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 starting October 11, 2013. Three winning proposals will receive funding and administrative support from apexart to present their show in its Tribeca space. 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 compelling—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. The three winning exhibitions will be presented in apexart’s 2014-15 season. Proposals are accepted online at apexart.org/unsolicited.php from October 11 – November 8, 2013. You may also visit this page for FAQs and other guideline details.
3. The Journal for Artistic Research (JAR) 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. Submissions that should be considered for JAR5 need to be made before November 15, 2013.
JAR 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 the Research Catalogue, a free-to-use online tool that allows the weaving together of text, image, audio and video material.JAR 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 in JAR can be self-published, free of charge in the Research Catalogue.
JAR is a free open-access resource, with an international readership and a growing pool of renowned artistic and academic reviewers. The journal’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 to register for an account on the Research Catalogue, and use the writing space to layout and expose their research. JAR provides editorial guidance and technical help with these processes.
Interested contributors should first acquaint themselves with previous issues at www.jar-online.net (the inaugural issue 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: email@example.com
4. Call for Critical Writing Proposals:JAR is published by the Society for Artistic Research.
gorse‘s website will publish shorter pieces of criticism , 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, to 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 don’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, Bolaño, Joyce), in experimental  writing, in fiction in translation, in the unconventional and the under recognised, in the personal essay (Sontag, Dyer). We are a literary journal equally interested in the arts (fine art, photography, architecture, film, music), in culture, in politics. We’re looking for smart writing, not academic.
1. “I. 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 heard…” Walter Benjamin ↩
2. We acknowledge the word ‘experimental’ is not without its problems. (See John O’Brien on this point: “If 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 a Joyce as “experimenters”: they didn’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.”) ‘Experimental’ is not weird for the sake of weird, it is innovation. ↩
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
September 19, 2013 · Print This Article
6 Must-See Discussions at Expo Chicago
by PADDY JOHNSON on SEPTEMBER 13, 2013
Joel Sternfeld | McLean, Virginia, December 1978 | 1978. via participating gallery Luhring Augustine
Expo Chicago launches next week and I’m already preparing. So far that means reading the website schedule and mentally preparing myself for reporting on the fair. I’ll be heading out to Chicago next Thursday to check out Expo and participate in “Dialogues”, a series of panel discussions on contemporary art launched in partnership with The School of The Art Institute of Chicago. Contemporary Art Daily’s Forrest Nash, The Baer Faxt’s Josh Baer, and myself will speak on a panel about digital publication moderated by Bad at Sports Founders Richard Holland and Duncan MacKenzie.
Perhaps thanks to the fair’s partnership with the institute, the panel discussions look a lot more interesting than the normal gamut of collector centric talks fairs normally launch. As such, I’ve put together a list of the discussions I’d most like to see. Check out Johnson’s list here.
Guest Post by Mark Sheerin
Art needs networks, and the 20th century testifies to that. There could never have been a lone fauvist, a solitary cubist, an isolated futurist, etc, etc. The avant garde loves company, and, without it, could never have made the great strides which came along with modernity.
Now we live in a different landscape. Cafes have become corporate part-time creches and third place venues for business meetings. Cigarettes and pipes, both intellectual props, are banned. And just try paying for your triple shot latte with a sketch, it can’t be done.
The avant garde have been in retreat everywhere for decades now. So it is good news to have some networking technology which might serve as a focal point for new visual ideas. So brew your own coffee, and read on, then redirect your browser to ArtStack here.
“How do these groups of people come together?” asks Co-Founder Ezra Konvitz. “What do they come together around, what was the particular moment where you have a group of people who have all converged around an idea?”
Some journals and meeting places may still exist, but these days many artists find it just as easy to share works, inspiration and ideas online. Like any social network worth its salt, Konvitz says his project hopes to replicate the social dimension of the real world.
For those new to ArtStack, the beta-stage website is a minimal, intuitive platform on which you can post images of your favorite art and browse those pertaining to other avant garde spirits. But I jest; the site is not at all elitist.
It is instead a space where you might find super-curator Hans Ulrich Obrist’s profile along with those of well-known artists from around the globe and emerging names from the most far flung parts.
“What’s really cool now is you’ve got people from Australia talking to people who are in New York and collaborating on shows. It’s so quick now,” says thirty-something Konvitz, whose democratic start-up is the fruits of a Masters in Art History and a timely enthusiasm for new and social media.
He talks of providing young people and other outsiders with, “the inspiration to go and be an artist, to go and be a curator, to get involved with art”. You don’t need a residence in a capital of culture to participate; ArtStack brings together people from 198 countries.
Konvitz is under no illusion that his site will replace the first-hand experience of a gallery. “Of course, real world interaction is always stronger,” he says. “Being able to have a conversation with somebody, or to see something in real life, is always going to trump an online interaction.”
And yet research has shown that some 60 percent of visitors to a show at Tate Liverpool, previewed online, said that seeing the displays online made them more likely make a visit.
At a later point in our conversation, Konvitz compares visiting an exhibition to experiencing live music. Jpegs and mp3s can help make you familiar with the work, but a live experience is always something special.
Perhaps it is inevitable, but the musical comparison brings to mind the rapid rise of band Arctic Monkeys, thanks to a page on music networking site MySpace. Anecdotal evidence suggests ArtStack has hooked up artists with curators, but the art world is still waiting for the meteoric artist without gallery representation.
However, interested parties might still learn something from a check-in with the website’s trending page. Major exhibitions in major cities tend to drive traffic to certain artists. “It’s a good way to keep tabs on what’s going on in the world,” says Konvitz.
It also offers the chance to see much loved works in new contexts – 3D pieces and video are both well served. “You can see a sculpture from the front, from the back, during daylight, at night, when it was in France, when it was in New York,” says Konvitz,
“It’s nice to get more of a rounded experience of a work or to view video art in your living room.” Indeed, to visit a page on which Giotto could rub shoulders with a 21st century art student is the most rounded of experiences.
“Finding the way in which artists can have that success and connect with the people who will make a difference to them is a really important thing”, Konvitz says. Avant garde movements may be a thing of the past. But, all the same, you might watch this virtual space and hope.
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
Last Saturday turned out to be one of the hottest days of the year in San Francisco. For anyone who doesn’t know, summer doesn’t arrive in this city until after Labor Day. Cashmere scarves and knit sweaters are all the rage in July, and by September the temperature and trends shift to hot days filled with sangria, tank tops and maxi dresses. I enjoyed the weather with a stroll through the galleries in downtown Union Square.
A couple months ago I wrote about the 49 Geary building in San Francisco’s Union Square, but the neighborhood is home to other galleries in separate buildings. After living in this city for several years, I realized that this would be my first time to some of these spaces. Passing through the hoards of tourists and a peaceful protest for Syria, I arrived at Gallery Paule Anglim. And what luck I had walking in and up the stairs, as Ms. Anglim herself was walking down the stairs and out, clearly in a rush to get away from the uncomfortable indoor heat this climate change has caused.
Regardless of the weather, which is never a topic of conversation in SF until this very month, it was a delight to see paintings by Pamela Wilson-Ryckman in an exhibition titled GPS. From the exhibition statement: “Precise knowledge of location gives one the illusion of control but knowing exactly where you are doesn’t necessarily mean you are in a good place. Rather than location it is often the experience of place that matters. How much information does one need to reconstruct a memory or sense of place? The answer is – not that much, imagination fills the gap”. I was most interested in Geppetto’s Jacket (2013) and it’s glaring painterly techniques, creating so much dimension of space for that “imagination”.
Out the door and on to the next, I visited for the first time Dolby Chadwick Gallery. As soon as I walked in, the speakers on the gallery desk were playing fun reggae music that fit perfectly with the tropical feeling in the air. It was a relaxing Saturday in the gallery – if I had to work I would be playing the same music! Guy Diehl’s awesome exhibition A Dialogue with Tradition sported realist paintings of still lifes that any art nerd could really appreciate. Some objects include books and postcards of historical works of art. From the exhibition statement: “…his work is first and foremost “art about art,” the lynchpin of his paintings is their references to other artworks”. After taking the postcard for the exhibition, I realized that my new favorite thing would be taking pictures of art and its exhibition postcard.
And once again, I was off to the next space I had never been to before until that day, the lovely two-story John Berggruen Gallery. Two shows were up: The Grand Anonymous by Linda Ridgway and the other of Important Works on Paper from the Past Forty Years by Chuck Close. I fell in love with Ridgway’s But the secret sits in the middle and knows (2011) – a bronze wall sculpture of blackened flowers – for its transcendence above kitsch. Sadly, it was already sold.
When I walked down to the main gallery level, I felt like I had walked into an old world Soho: 4 giant Chuck Close watercolors. But I’m a sucker for mixed media collage, so Study for “Keith”/4 times (1975) got me all riled up with excitement.
Finally, I stopped into Caldwell Synder Gallery and its ridiculously hip show by Marta Penter. The space itself goes on for days and it perfectly compliments Penter’s muted paintings of American culture just being alive and chillin’ and laughin’ and lovin’ and wearin’ jeans and listen’ to tunes. I’m reminded of Levi’s and Gap and wonder if she’s collaborated with either company, as they’ve been headquartered in San Francisco forever.
Like I had mentioned in my 49 Geary post, it’s hard to disassociate the art from the status of Union Square as the high-end shopping district of San Francisco. Several galleries in the city started off in the downtown area only to later move out to other less commercial areas. I, for one, love the play between art and commerce and luxury brands and cultural demand. I don’t mind that my art stroll can be stopped by seeing a fabulous abstract work of art in a window, or a fabulous contemporary Bang & Olufsen sound system. In the end, they’re both going to end up sharing space in someone’s living room.