The Canning Center will house the Student Center, the Hospitality Facilities, and the University Center departments and programs. The Center’s design shall address the diverse culture of the student community and provide connecting links to adjacent buildings.

The Student Center shall group all student services and related functions into one location on campus:

• Create a Welcome Center for new and prospective students.

• Create a one-stop to consolidate all student services.

• Craft a centralized hub for ease of access to campus services and activities.

• Provide shared resources convenient for students, faculty, and staff to utilize on a daily basis.

• Identify current program elements for the Campus Life/One Stop Admission Center.

The Hospitality Facilities will provide instructional and laboratory spaces to educate students in Hotel Management, Restaurant Management, and Culinary Arts.

The University Center will include the Testing and Certification Center, provide an atmosphere to support and encourage collaboration with local businesses, and support the 2+2 and 3+1 programs by providing better access to other resources on the main campus.

Art Fluentinvites artists worldwide to submit artwork to our online exhibit, minimal.

THEME
Minimalism is all aboutkeeping things simple on purpose. The art is stripped of anything extra andpresented in a straightforward manner...no frills or fancy add-ons here.Instead, it's all about a bare-bones vibe focusing on the basics. Minimalismenables artists to capture the beauty of simplicity, making a big impact withjust a little. Show us minimal from your perspective.

CALENDAR
JPEGs due by Friday, August 16, 2024 at midnight MST.
Notification of acceptance and online gallery opening by Friday, September 13, 2024.

ELIGIBILITY
This call is open to artists worldwide, both amateur and professional. Workthat has been selected for previous exhibits with Art Fluent will not beconsidered.

RULES
Work that is copied or done under the guidance of an instructor is noteligible. Open to ALL fine art mediums (oil, acrylic, watermedia, pastel,drawing, printmaking, mixed media, photography, sculpture, fiber, wood,ceramics, film/video, digital art). AI will not be accepted. Diptychs andtriptychs should be uploaded as a single image.

ENTRY PROCEDURE
Entry is done through CaFÉ, a web-based service that allows artists to uploadimages and organize their artwork for submissions to galleries. To apply for acall, you must leave our website and go to the CaFÉ website atwww.callforentry.org where you can create a FREE artist account. You will addyour details and upload your images to CaFÉ and then you can submit work to minimal.If you have any questions, please contact us at hello@art-fluent.com we arehappy to walk you through the process.

MEDIA PREPARATION
Please only submit properly cropped images of your work that are infocus. We have a free resource for artists for tips on how to get highquality images of your work. Visit www.art-fluent.com/resources for a free download. CaFÉ also offerstips on their blog which you can find here www.callforentry.org/photographing-artwork/.

Allimages must be in JPEG/JPG format using CaFÉ guidelines. The image size must be1,200 pixels or greater on the longest side. Maximum file size is 5 mb. 

Acceptedvideo formats include MOV, MP4, WMV. Aspect ratio 4:3 or 16:9, resolutionminimum 640x480, maximum 1920 x1080, bit rate recommended above 240 kbps,recommended frame rate 30 fps. File size must be under 100 MB. If your videowork has been selected for the exhibit, we kindly request that you provide uswith the file link via Vimeo. Please ensure the linked video is set to beshared publicly. Your video will not play if it is set to private.

NOTIFICATION  
Notification will be done by email, everyone who submits will be notified ofthe juror’s selections. If for any reason you do not hear from us by thenotification date, please check the filters in your email account. Notificationemails are sent to the email on file with CaFÉ.

SALES
All sales inquiries will be directed to the artist’s website and/or contactinformation. For any artwork that is sold, the artists receive 100% of thesale.  

GIVING BACK
A portion of the proceeds from the entry fees is donated to organizationscommitted to the arts and supporting artists.

REQUIRED FORMS
Cash awards over $600 are subject to federal income tax withholding within theUnited States. A W-9 form must be filled out by the winner and submitted to ArtFluent, Inc.

REGULATIONS 
By entering our calls for art through CaFÉ you are agreeing to be added to ArtFluent's email list for forthcoming artist opportunities. By submittingimages, you agree that the images are your own work, nothing copied, you ownall rights to the images, and you take full responsibility for the content ofall images, including the likeness of recognizable individuals. The actualartwork will remain the property of the artist, our mission is to promoteartists and their work. Should your work be accepted, you grant Art Fluent theright to reproduce your image on our website, on social media, and whereappropriate to help promote further online opportunities. Art Fluent willalways credit you and your copyright wherever feasible. We will not use yourimage for any other purpose without the artist’s permission.

Deadline: 27/05/2024

Creative Bursaries support students from marginalized groups who are experiencing financial hardship, and are looking to develop practices focusing on arts for social change. These unrestricted bursaries give agency to emerging artists, helping them to thrive in…

https://thesupportingact.org/programs/creative-bursary-2024/

Deadline: 01/06/2024

The Grange Projects welcome applications from Black, Asian and Minority Ethnic (non white) artists based in the UK to apply for the 2024 Peut Guard Artist Award at The Grange Projects.The successful applicant will be…

https://www.thegrangeprojects.org/peut-guard-award-1

Deadline: 29/06/2024

This Scholarship is offered in memory of the celebrated painter, Zsuzsi Roboz. Funds have been made available to support contemporary figurative artists of promise working primarily in painting and drawing to study…

https://www.morleycollege.ac.uk/zsuzsi-roboz-art-scholarship-24-25/

Deadline: 17/07/2024

As part of a shared mission in making art, culture, and creativity accessible to everyone, this prize is a celebration of emerging artistic talent. It will highlight and stimulate dialogue around visual arts as a…

https://mcsaatchi.com/artforchangeprize

Open for Entries: RPS International Photography Exhibition 166 Be part of the longest run­ning pho­tog­ra­phic exhi­bi­tion celebrating photography from across th...

Once again, the Artists’ Guild of Spartanburg seeks to highlight the work of outstanding BIPOC (Black, Indigenous, and People of Color) artists in the so...

Entries are now open for the International Photography Exhibition 166 (IPE 166).

Eligibility: Photographers and image-makers, of all ages, can submit their work to the RPS International Photography Exhibition. Submissions are encouraged from new, emerging and established photographers worldwide.

What you get: A prize fund will be awarded to standout entrants, including an Under 30s Award, and selected photographers will also be featured in the award-winning RPS Journal.

Fee: One free entry is available to all entrants, then for four as a series of work or a set of single images £18 - £30. Reduced entry is available for groups of 10+.

Deadline 21 May 2024

Che il Padiglione d’Arte Contemporanea di Milano sia da alcuni anni una delle istituzioni pubbliche italiane più ricettive alle ricerche di artisti attenti ai contesti sociali, nonché alla performance è abbastanza noto tra gli addetti ai lavori: a definire tale identità ha contribuito in maniera cospicua la direzione artistica di Diego Sileo che, con competenza, curiosità e senza disdegnare la provocazione, dedica parte della programmazione a tale medium, attraverso mostre tanto di italiani quanto di figure internazionali, riannodando tragitti che segnano la storia dell’istituzione milanese. Quello che forse è meno evidente a chi non frequenta sistematicamente il PAC è che l’edificio stesso sembra favorire andamenti laterali rispetto alla tradizione delle arti visive, “naturalmente” aperto a esplorazioni che eludono “l’armadio chiuso” del modernismo: la grande vetrata affacciata sui giardini di Villa Reale è membrana osmotica con l’area verde retrostante, la sua continua mutevolezza cromatica e luminosa, la sua piacevole ma invadente presenza. E ugualmente il ballatoio che corre parallelo al vano centrale del piano terra si trasforma agevolmente nel balcone da cui assistere a quanto si svolge in basso. Un ideale loggione, tropo di una dimensione teatrale celata appena sotto la pelle dello spazio museale.

Dal 19 marzo e fino al 9 giugno, il PAC ospita la prima retrospettiva italiana di Adrian Piper (New York 1948), figura di spicco dell’arte post-concettuale statunitense, particolarmente rappresentativa per il costante impegno su aspetti e questioni legate al razzismo, ma con rare apparizioni italiane, tra cui il tempestivo Parlando a me stessa. L’autobiografia progressiva di un oggetto d’arte, edito in italiano da Marilena Bonomo nel 1975, con la presumibile mediazione di Sol Lewitt; il prestigioso Leone d’oro alla Biennale di Venezia del 2015, quella diretta da Owki Enwezor; la traduzione di Meta-art (1973) per Castelvecchi nel 2017 a cui aggiungere qualche inclusione di lavori in rassegne collettive. Sebbene la dimensione performativa a cui si è accennato in apertura, questa volta sia affidata solo alla documentazione fotografica e audiovisiva con cui si da conto di numerosi interventi di Piper, in particolare della splendida Funk Lessons (1983-85) tramite il film di Sam Samore, lo stile del curatore è ben riconoscibile. Infatti, tranne pochi lavori giovanili, tutto guarda al mondo, oltre i convenzionali problemi del visuale.

Il visitatore è accolto da un brusio di voci che provengono da installazioni sonore e video che punteggiano il percorso espositivo: una dimensione corale messa in evidenza sin dalle prime opere, con Negative Self-Portrait (1966), lavoro figurativo su carta, firmato “Adrienne”, subito prima quindi dell’adozione del più neutro – ma con sfumature maschili – Adrian. L’artista si presenta quindi con una identità multipla e sfaccettata: sebbene ricorra sovente alla propria immagine disegnata, fotografata, ripresa in video, i suoi connotati restano volutamente sfocati tanto rispetto all’appartenenza a un gruppo etnico definito – come avverte la definizione che campeggia su materiali promozionali dell’esposizione, Race Traitor – quanto dal punto di vista del genere. Se questo secondo aspetto è mobilitato solo indirettamente in The Mythic Being (1973-1980), Race Traitor è il titolo di un lavoro del 2018  in cui l’artista rielabora la riflessione sulla propria identità formulata quarant’anni prima, con i Political Self-Portraits (1978-1980), giocati sull’associazione tra la riproduzione della fotografia del passaporto – per antonomasia lo strumento di identificazione burocratica del cittadino – e una serie di eventi biografici in cui Piper ha preso coscienza del gruppo razziale a cui apparteneva o al quale gli altri ritenevano appartenesse. Il titolo della mostra, quindi, allude anche all’esperienza del passing, tematizzata dall’artista in questi e altri interventi, rievocandone le ambiguità sulla scorta sia della tradizione letteraria, sia delle pressioni sociali.

Attraverso approcci spiazzanti, Piper lavora per erodere le linee delle costruzioni sociali che dividono le persone in gruppi razziali: dalla riproposizione dei cliché al loro ribaltamento, fino all’esplorazione di situazioni in cui i presenti – visitatori inclusi – sono disorientati. In tal senso si muove la celebre installazione Cornered (1988) in cui il pubblico del museo diventa anche il destinatario del monologo della professoressa Adrian Piper[1], trasmesso da un televisore installato tra due certificati di nascita in cui un medesimo individuo viene definito “octoroon” nel 1953 e “white” nel 1965.

Nel video, infatti, Piper spiega – rivolgendosi direttamente al visitatore in sala – proprio l’impossibilità teorica di definirsi bianco o nero nella società statunitense, dove i contatti tra i due gruppi sono antichi e ramificati. La sensazione di essere parte in causa, parte del problema, di essere tra gli interlocutori dell’artista non ci abbandona mai: dal reiterato impiego del pronome “you” nei titoli, fino all’adozione dell’indagine sociologica che nella serie Close to Home (1987) fa emergere – potenzialmente nelle biografie di ciascuno – omissioni circa il proprio inconfessato razzismo; dalle luci che alternativamente si accendono e si spengono in Black Box /White Box (1992) trasformando l’osservatore in osservato al ricorso agli specchi in Das Ding-an-sich bin ich (2018).

Pur rinunciando alla narrazione lineare con l’intento di calare il pubblico nel bel mezzo delle prove di un coro, in cui le voci si alternano e si sovrappongono, la mostra dipana una conversazione che copre una carriera lunga quasi sei decadi, puntellata da prestigiosi riconoscimenti, come si deduce dalle collezioni da cui provengono i pezzi in mostra, coerente nel nucleo semantico ma diversificata per medium e stili, dai lavori d’esordio debitori dell’arte concettuale, fino alle recenti animazioni digitali, passando per installazioni, video e variazioni attorno all’impiego della fotografia e della scrittura.

Tra le opere stilisticamente più sorprendenti i Vanilla Nightmares (1986-1989, fig. 6) disegni a carboncino eseguiti sulle pagine del New York Times. Resi celebri dalle riflessioni di Hal Foster in Il ritorno del reale, le opere insistono sulle paure che alimentano il razzismo: con fisionomie esagerate e corpi vistosamente erotizzati, l’artista tratteggia donne e uomini bianchi e neri che visivamente interagiscono con le figure riprodotte nelle pubblicità o fotografate per la cronaca, e in generale entrano in risonanza con le notizie relative al Sudafrica pubblicate dal quotidiano. Ma dal vero si apprezza quanto il tratto, volutamente caricaturale e semplificato, non si sottragga alle atmosfere neoespressioniste di quegli anni, mettendo ancora una volta in comunicazione personale e collettivo, pubblico e privato, e con un approccio intersezionale ante litteram.

[1] Oltre che artista visiva, Piper ha insegnato filosofia teoretica in numerosi atenei statunitensi; dal 2005 vive a Berlino.

Adrian Piper, RACE TRAITOR, PAC- Padiglione Arte Contemporanea, Milano, 19.03 – 09.06.2024

images: (cover1) Adrian Piper, «Das Ding-an-sich bin ich», 2018, photo Nico Covre (2) Adrian Piper, «Race Traitor», 2018, stampa digitale (3) Adrian Piper, «Cornered», 1988 (4) Adrian Piper, «Close to Home», 1987, fotografie, testo, audiotape  (5) ) Adrian Piper, RACE TRAITOR», PAC, Milano, ph Nico Covre – Vulcano Agency (6) Adrian Piper, «Vanilla Nightmares #11», 1986, carboncino su pagina di giornale.

L'articolo Adrian Piper al PAC di Milano proviene da Arshake.

Become A Future Star

Our Future Stars event is the perfect opportunity for you to showcase your art to the world. Our annual event offers discounted rates for artists to showcase their work in Barcelona gallery. This is a unique chance to have your art seen by people from around the world!

We welcome artwork submissions from all nations, in any creative medium - from traditional painting and sculpture to innovative video art, mixed media and even poetry and illustration. Our current OPEN theme provides endless possibilities to express yourself through your art. We look forward to exploring the diverse range of talent out there.

We encourage artists from any background to submit their work, free of charge. So if you have a piece to share, don't hesitate to send it our way.

The HMS Visiting Artists Fellowship is an initiative at Palm Beach State College made possible by a generous grant from the Helen M Salzberg family. The fellowship aims to provide support for contemporary visual artists in Palm Beach County and works collaboratively with the Studio Art Program at Palm Beach State College.

The HMS Visiting Artists Fellowship will provide an endowment of $6,000 to one selected artist per year and facilitate exhibition and mentoring opportunities for this Visiting Artist. Selected artists will be responsible for fulfilling the following obligations:

·       Selected artists must make a lecture presentation/workshop for a student group and solo exhibition at the HMS Fine Art Gallery. Additional funds of $1,000 for the facilitation of the presentation and transportation costs for the gallery exhibition will be provided.

·       Selected artists will be expected to make themselves available for mentorship opportunities on or off campus with the Koo Family Art Collaborative Mentorship recipients totaling 20-30 hours.

·       Selected artists must write a year-end fellowship summary of their activities for presentation to the HMS Visiting Artists Fellowship Committee.

·       Selected artists will agree to participate in a group or solo exhibition at the HMS Fine Art Gallery.

Criteria for Selection

Artists in any media or level of professional accomplishment should apply, but most importantly the artist should be able to complete the required duties of the fellowship as listed above and emphasis will be placed on their ability to provide mentorship opportunities for Palm Beach State College students. The selection committee is looking to provide students with direct, on-site professional experience and engagement and applicants with active studio and professional practices are preferred. Additionally, ability to facilitate a workshop or lecture for on campus student engagement will be similarly considered as a high priority.

 Eligibility

 Any living artist legally residing in Florida is eligible to submit an application. Individuals with conflicts of interest are not eligible for award under this offering.

Submission Requirements

Applications will be evaluated based on the information submitted below. Please read the following submittal requirements carefully.

1. Images of Artwork with Annotated Image List

• Submit up to 10 images/videos of recent artwork completed within the last 5 years. Artists may submit a combination of images and videos, but no more than 10 artworks will be considered. Details of artwork will count against the total of 10 images/videos submitted, so it is highly recommended that artists submit high- resolution images.
• Submit images in .jpg or .png format with a maximum file size of 3 MB each.
• Submit videos in .mp4, .mov or similar format with a maximum file size of 100 MB. If the video file is too large for email- a direct link to the file on a cloud or video streaming platform (not a general link to artists website) would be allowed. The total combined running time of all submitted videos may not exceed five minutes.
• Provide an annotated list of available artworks in .pdf format (this must be a separate file from examples submitted) specifying the title, year, medium, dimensions, weight, edition (if applicable), and a brief description of the concept behind each artwork.

2. Artist Statement

·       Submit a written artist statement in .pdf format describing the premise of the artwork(s) presented in the application, including the artistic insight into the art- making process.

3. Fellowship Statement

·       Submit a written statement in .pdf format describing the mentorship opportunities that you will be able to provide for selected students as well as a description of a lecture/workshop that you would like to develop and implement.

4. Professional Résumé

·       Submit a current professional artist résumé or curriculum vitae (CV) in .pdf format.

5. Proof of Residency

·       Submit a scanned copy of artist State ID or a recent utility bill in artist name in a .pdf format.

SUBMIT TO:

artsubmissions@palmbeachstate.edu

https://www.palmbeachstate.edu/SalzbergCenter/Fellowship.aspx

The Abandoned, people, places, and belongings that once mattered, are now unremembered, out of mind, left behind.
Items once significant to someone, personal items, buildings, objects, persons, a place that once had importance to another, the possibilities are all around us.

The SE Center is looking for all forms of imagery of the Abandoned, black-and-white and color, analog, digital, or antique processes, photographers of all skill levels and locations are welcome

Medrar for Contemporary Art launches its call for the 11th edition of Cairo Video Festival, which will be held in December 2024. The festival continues its focus on providing a platform for sharing and discussing newly produced video art and experimental film. Programs will be screened in conventional and non-conventional venues, in theater and exhibition spaces to promote, expand and harvest attention to the practice. 

Deadline: 30 May 2024
Call for entries

11th Cairo Video Festival
Video Art & Experimental Film
Deadline for submission: 30 May 2024
https://www.cvf.medrar.org/call-for-submission-for-the-11th-cairo-video-festival/

Medrar for Contemporary Art launches its call for the 11th edition of Cairo Video Festival, which will be held in December 2024. The festival continues its focus on providing a platform for sharing and discussing newly produced video art and experimental film. Programs will be screened in conventional and non-conventional venues, in theater and exhibition spaces to promote, expand and harvest attention to the practice.

The 11th edition of Cairo Video Festival culminates many steps and stages that represent our experiences with video art and experimental film, and also summarizes our recurrent inquiries about the relationship between artistic expression and the reality we live in, the current events and our eagerness to experiment and add new and different values ??with each edition. It is an opportunity that we yearn for with every edition to witness these innovations, experiences and new concepts from around the world, and to share them with the public.

The call for submission is directed towards video artists and experimental filmmakers from various technical fields. We also encourage designers and developers who work in the fields of virtual reality, animation, interactive softwares, and artistic games via the Internet, computers or smartphones to respond to the call. Likewise, those who emphasize the use of the moving image in their installations or live performances. Curators and institutions involved in the production and distribution of video art and experimental film are encouraged to submit their programs. The festival’s program takes the format of a series of showcases, accompanied by talks and discussions with active video-makers and curators to tackle some of the key themes and issues addressed in the works.

Guidelines and conditions

Individuals, groups, curators or associations are invited to participate.
The number of entries by one author is limited to two works. Please note that you must submit a separate application form for each work submission.
Feature films, documentary or commercial videos are not accepted.
The work should be produced after January 2021, and should be no longer than 30 minutes of duration.
Attach 3 high resolution video stills for each submitted work.
All moving image works under the categories of video art and experimental film, including new media art like interactive video, VR, CGI, etc. are accepted.
The festival team and committee will make the selection of the 11th edition program.
All applicants will be notified of the status of their applications via email in August 2024. The organizing crew has the right to use the participants’ data in any relevant publications and PR materials and for promotional purposes, with reserved copyrights.
All works submitted will be included in the festival’s video archive, and may be screened for retrospective research and/or educational (in no case commercial) purposes in the various screenings. Medrar will not screen any works to the public, give, sell or rent copies to other institutions or private persons interested without written consent by the producer of the video.
Videos with narration in languages other than English and Arabic should have English or Arabic subtitles.
Videos missing the festival application form will not be regarded for entry.
The submission of the application form designates the acceptance of the terms and conditions of participation in the 11th Cairo Video Festival, and a declaration that the applicant holds all rights to the submitted material or has the permission of the legal owner of the rights to the submitted material (pictures, sounds, texts)

Online Submissions

Video files and stills should be uploaded to Google Drive (or other similar websites with no expiry date for downloading files). Please include the .srt file. Your videos must be submitted as only screening copies in the best available quality (H.264 video format).

Fill in the online application form below and copy then paste the download link inside the online application form (we advise you to start the upload online process before you proceed with filling in the application form).

More details
https://www.cvf.medrar.org/call-for-submission-for-the-11th-cairo-video-festival/

Please contact cvf@medrar.org for further inquiries

The Other Art Fair offers an opportunity to artists to showcase and sell their work, network with galleries and connect…

Genesis Gallery is delighted to announce an open call for art for our upcoming exhibition, "Brushstrokes & Bookshelves: Where Art Meets Literature." We invite art...

Worldwide Artist Open call Video Art Festival in Virtual Reality is currently an online virtual 3d event produced by non-profit association ZMO - Zusammenarbeit mit Osteuropa - Re...

Dieu Donné is pleased to announce an open call for a four-day, hands-on workshop and seminar in hand papermaking in fine art for early- to mid-career curators and specialists in the field of prints and drawings. The goal of the seminar is to empower curators and print specialists to better understand papermaking as a medium, artworks on and off paper, and the relationship of papermaking to printmaking and drawing. Workshop Dates will take place between February 3-6, 2025. This workshop is made possible with support from Getty through The Paper Project initiative.

Eligibility: Ideal participants include emerging to mid-career curators, with up to 20 years of experience, whose curatorial focuses are in print, drawing, or other related paper-based artworks. Dieu Donné will also consider applications from other kinds of print and drawing specialists, including independent researchers, conservators, doctoral candidates, post-docs, and other arts professionals. Affiliation with a museum or institution is preferred but not required. U.S.-based and international applicants are both encouraged to apply.

What you get: The seminar will include a hands-on papermaking workshop, demonstrations of Eastern and Western techniques, lectures on the history and contemporary practice of papermaking, close study of handmade paper artworks, and visits to collaborative print/paper studios and museums with major collections of paper works in New York City. Through gaining hands-on experience with a range of papermaking techniques, participants will unlock a deeper understanding of paper artworks and the artmaking process.

Deadline 20 May 2024

Call out for artists: four large-scale mural opportunities in Regional NSW, across the Murray River Council footprint. This project presents the opportunity to create iconic artwork that articulates and contributes to the region’s unique identity. Designed to be high quality and engaging the completed artworks will draw visitors to these regional towns, showcase their natural and historical assets, and become iconic landmarks that are celebrated by each community, placing River Country on the map for visitors near and far.

Eligibility: Mural artists with experience working on large-scale murals. Artists from across Australia and beyond are welcome to apply.

What you get: Artists will be paid a fee (range $36,250-$41,250) for their design and time, FORM will cover material, equipment, and travel costs.

Deadline 20 May 2024

The Cass Art Prize 2024 presented by The Cass Group, aims to champion contemporary art from across the UK and Ireland, with a £10,000 cash prize and a free stand at The Other Art Fair in spring 2025 awarded to the overall winner of the competition. There are additional prizes worth £5,000 including a Student Award, an Art Educators Award and more! Plus a prestigious group exhibition at Copeland Gallery, London in November 2024.

Eligibility: The prize is open to artists of all abilities based in the UK & the Republic of Ireland aged 18+. Accepting all forms of 2D & 3D artworks made using analogue materials. Not accepting photography, videography, sound art, architectural designs, NFTs, fully digital and AI artworks. Artworks must have been created since 1st March 2021. Artworks which have previously won prizes or awards may not be submitted. Artists can enter up to 3 artworks.

What you get: The main winner will receive £10,000 cash plus a stand at Saatchi Art's The Other Art Fair in spring 2025. Works will be judged by a respected panel of guest judges with extensive knowledge and experience across the art industry, and selected artists will be invited to take part in a group exhibition in London in November 2024. There are additional prizes worth £5,000 including a Students Award and an Art Educators Award, plus a Development Award from the Contemporary Art Academy and more!

Fee: £10 for 1 entry, £16 for 2 entries or £22 for 3 entries. Students and Art Educators get £2 off these fees

Deadline 20 May 2024

FRAME cattura Ball Track Venus Italica, opera di Wim Delvoye per rilanciare la mostra “The Order of Things” di cui è parte al Musée D’Art et D’Histoire, riflessione dell’artista sulla relazione con l’arte e con gli oggetti.

Wim Delvoye, Ball Track Venus Italica, 2023 Bronze patiné ; H. 173 cm © Studio Wim Delvoye, immagine via
parte della mostra The Order of Things, Musée D’Art et D’Histoire, Ginevra, 26.01 – 16.06.2024

L'articolo FRAME > THE ORDER OF THINGS proviene da Arshake.

Early-career artists working in figurative painting, drawing, or original printmaking are invited to apply for the NEAC Artist Scholarships 2024-25 worth over £5,000. The successful applicants will benefit from a scholarship prize (first prize: £5,000 and two runners-up receive £250 each) to support artistic development, as well as the opportunity to attend classes and develop mentoring relationships with the talented members of the NEAC.

Eligibility: Early-career artists working in figurative painting, drawing, or original printmaking. ‘Early-career artists’ include anyone who feels they are at the beginning stages of their professional artistic career as long as they are 18+ and living in GB.

What you get: As well as the monetary awards (1 x £5,000 and 2 x £250), NEAC Scholars can attend the NEAC Education Programme's workshops for free and are encouraged to develop mentoring relationships with the talented members of the NEAC.

Deadline 17 May 2024

The Fellowship supports the Cavendish Arts Science ethos of experimenting, decentring and re-imagining. It is designed for artists to develop thought-provoking ideas through engagement with physicists and those in other fields, and to experiment with new approaches to their practice that are transformative and push boundaries. We are seeking adventurous artists who explore alternative ways of knowing the world, and who work with communities that are not privileged in the mainstream. The fellowship offers opportunities for playful experimentation, and the space to re-imagine beyond conventional artistic and scientific boundaries.

Eligibility: Any artist can apply for the Fellowship regardless of medium or practice, nationality, or country of residence, as long as the artist is out of full-time education by the start of the Fellowship, over the age of 18, and willing to travel to Cambridge. Artists with no previous experience of working with scientists or in a scientific environment are particularly encouraged to apply.

What you get: The Fellowship is financially supported; A stipend of 10,000 GBP(£) will be paid to the successful candidate. This amount includes all taxes and is a contribution towards the artist's living costs and expenses. Rent-free accommodation and meals will be provided at Girton College during the residency period in Cambridge. A travel budget of up to GBP 3,000 (depending on where the artist is based) will be made available to support the cost of travel to/from Cambridge. The production budget of GBP 10,000 will be made available to support the development of new work arising from the Fellowship.

Deadline 19 May 2024

Rosalie Yu, Ran, 2016. Sandstone

An international open call for Delfina Foundation's upcoming winter 2025 residency season (6 January – 30 March) under its recurring thematic program science_technology_society. We are looking for artists, curators, researchers, technologists, activists, writers, and thinkers who seek to explore how emergent technologies affect our understanding of mental well-being, and who are interested in probing the potential for intersecting art, science, and technology to reimagine mental health support, justice, and pride.

Eligibility: This opportunity is open to practitioners from around the world as well as across the UK. This season will support a minimum of eight practitioners, whose practices have already engaged with aspects of art, science, technology, and mental wellbeing, and who make strong proposals for how they will use this opportunity to explore ideas within the stated theme.

What you get: The selected international candidates will be offered a fully-funded three-month residency at Delfina Foundation in central London, including visas, flights, accommodation, local travel cards, stipends, and materials allowances. Applicants based in the UK will be considered for non-residential participation in the program and will be paid a fixed fee of £3000 for their involvement, plus reimbursements for pre-agreed travel costs required for their participation.

Deadline 19 May 2024

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