Matthew Thomas is an artist and architect exploring the built environment through reimagining landscape, infrastructure, and community engagement with a multidisciplinary approach spanning art, curation, public art and events, architecture, and urban design. His recent work has focused on infrastructure and the natural resources that support contemporary lifestyles; with explorations in water, food, and acts of extraction and consumption of natural resources. Utilizing the time and space at the NES Residency, he is creating new site responsive works and designs reflective of the Icelandic landscape and the systems and infrastructures impacting it. 

He received his MA in Architecture and Urban Design from Columbia University in New York City, and currently operates his practice through Studio Taos, and the nonprofit he founded, The Paseo Project. His work has been included in exhibitions in KOHI-Kulturraum, Germany; Storefront for Art and Architecture and Vivian Horan Fine Art, New York City; Joshua Tree, California; Santa Fe Art Institute; and the Harwood Museum, New Mexico. Solo shows include Central Features, Albuquerque; and Taos Art Museum, New Mexico.  Thomas is a MacDowell Fellow and was an artist in residence at I-Park, Connecticut; Ucross, Wyoming; StudioWorks in Eastport, Maine; Santa Fe Art Institute; Arteles Creative Center in Finland; The PORT Hackathon at CERN, Switzerland; and Art Farm in Nebraska.  Thomas currently resides in Taos, New Mexico with his husband and 40 chickens.

Instagram @jmattthomas   & https://www.jmatthewthomas.com/

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

Le Centre SAGAMIE invite les artistes en art actuel de toutes les disciplines à déposer leur dossier pour les programmes de résidences de Recherche/création…

L’article Image numérique et Micro-édition / Sagamie est apparu en premier sur Réseau Art Actuel.

Komoco is glad to announce “Komoco Summer Intensive 2024” –– the dance company’s fourth official 5 days workshop. Classes will take place in Florence, where the company is based, at P.A.R.C Performing Arts Research Center. Throughout the week, selected dancers will have the opportunity to study with Komoco’s choreographer and artistic director Sofia Nappi and the company’s dancers. Where: P.A.R.C. […]

“PDTFR 3 Months Intensive” has been exclusively made for professional dancers, artists, and dancers aged 18 minimum with already a strong level in contemporary dance. Where: Grasse, France, zone commerciale de la paoute, 34 Trav. de la paoute When: From October the 1st, 2024 to December the 22sd, 2024. Deadline for applications: September the 15th, […]

Embodied Transitions is an online holistic integration program which empowers dance artists to navigate the world healthfully, authentically and creatively. Internationally accessible with a mixture of online and in-person sessions, it offers unique guidance, support and tools, resulting in increased clarity, focus and community building.  Where: Online via Zoom When: Info/Intro Workshops + Pop-Up events […]

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

Zorobabel lance un appel à candidatures en vue d'une résidence destinée aux réalisateurs et réalisatrices d'animation. Les candidatures sont ouvertes jusqu'au 30 septembre 2024.[En savoir plus]

Collusion is looking for two new members to join our Advisory Board, as advocates for the following policy areas in the Arts Council England Investment Principles: i) Inclusivity & Relevance, and ii) Environmental Responsibility. The advisory board meets quarterly.

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