Hamlett Dobbins

Last Thursday, Hamlett Dobbins came and gave a lecture with a short Q&A during class. During his lecture he taked a lot about the backstory of his involvement in the Memphis gallery scene. He talked about how the shows were organized. He also talked about the differences in the ways shows were organized for his different gallery spaces. He talked a little about the marketability of different shows and how that affects the choice of gallery space. I was particularly interested in his talk about the varying levels of restriction on different sorts of shows. Hamlett focused particularly on the aspects of his more approachable gallery space.

            Hamlett also spent some time talking about his involvement in artist in residence programs.  He recommended this highly and im pretty interested in looking more into artist residencies. He also talked about grants for a short while. He again recommended writing for grants. I wish he had gone more in depth into the process of applying for grants and residencies.

Calls for entry

exhibition. Two-dimensional work should be framed and protected by clear acrylic glazing. 2 entries/$25; Additional entries $5 ea; Limit 5. Deadline: November 1, 2011. Download prospectus (PDF format), or send a SASE to: Northwest Art Center, 500 University Ave W, Minot ND 58707. Questions? Contact Avis Veikley at avis.veikley@minotstateu.edu or call 701 858-3264.

INTERNATIONAL CALL FOR ENTRIES

Philadelphia, Pennsylvania

Deadline: September 30, 2011 Posted: 5/25/11

 Title: 2012 NICHE Awards competition Sponsor: NICHE magazine Venue: Pennsylvania Convention Center Awards: Spread in NICHE magazine, trophy and press as well as an opportunity to display their work in a special exhibit at the February 2012 Buyers Market of American Craft (BMAC) Eligibility: Students: Must be enrolled or just graduating from an undergraduate, graduate, or certificate arts program. Professionals: Must produce their own work in a North American studio and actively be selling their work through galleries and craft retailers. Both student and professional enterers must reside and produce their work in the U.S. or Canada. Fees: $40 for professionals, $18 for students E-mail: Erin Hartz Website: http://www.NICHEAwards.com Prospectus: http://www.nicheawards.com/apply-now/

NATIONAL CALL FOR ENTRIES

Redding, California

Deadline: October 29, 2011 Posted: 8/27/11

 Exhibit Dates: January 24 - February 25, 2012 Title: 28th Annual National Juried Show Sponsor: North Valley Art League Venue: Carter House Gallery Awards: $1000 Best of Show, (5) $100 awards of Excellence, (5) $50 Awards of Merit Juror: Mark E. Mehaffey Eligibility: Open to all artists 18 years and older, residing in the United States. Open theme, with a size limitation of 40 x 40 inches, including frame. All two-dimensional works in the following media will be considered: Paintings in oil, acrylic, watercolor, pastel and gouache; Drawings in pencil, pastel, pen & ink; Printmaking & Mixed Media. Fees: $10 per entry for NVAL Members and $15 per entry for Non-Members Send SASE to: North Valley Art League, 48 Quartz Hill Road, Redding, CA 96003 E-mail: Kathleen Evans or Barbara Walter Phone: (916) 812-7595 Website: http://www.nval.org

INK AND CLAY 38

Exhibition Dates: Thursday, March 15

through April 27, 2012

see pdf

Art at Wharepuke –Biennial International Print Show
Deadlines
Initial entry is to be made by CD or email
By Nov 1st 2011 send:

1. Up to 3 images on CD or by email – label images with Name and Title
2. Entry fee – non refundable
3. CV
4. Application form

Mca printblog

500 Paper Objects
Lark Crafts
Asheville, NC
Publishing Opportunity

sept 26 

Improved Photos

Greely Myatt class interview response

The interview with Greely Myatt at the David Lusk Gallery was interesting, and informative, although at times his answers were not particularly helpful. Hearing him talk about his work was, to me, the most valuable part of the interview. Learning about the working habits and methods of a professional helps to give some basis for comparison.

            It seemed that many of his answers to questions about exhibiting work professionally were either non applicable to us, or very situational. That said, it is not something to which there necessarily is a specific formula. The only real advice about gallery shows that I found applicable was his suggestion to gravitate towards gallerists who are not also artists.

            His closing advice to the group was probably the most effective, surprising, and interesting thing he said to us. His advice that an artist should always listen but not necessarily believe what they are told in critique was a very freeing suggestion. His comments about intentionality were also quite helpful.

Final Draft Artist Statement

I am currently working on a series of portraits that allow the viewer in on private and largely unseen moments in the life of the subject. The subject of each portrait is depicted in the process of preparing to go out in public, usually in front of a mirror. These moments of preparation are moments in which the individual fabricates part of their public identity. By making choices to wear certain clothes or about grooming habits, the subject is either consciously or unconsciously attempting to control the ways in which people perceive their identity.

The viewer will be allowed to step into the shoes of each of the subjects as they stand in front of the image looking at what should be their own reflection. Instead of seeing themselves, they are placed in front of a private moment of another person. The viewer is allowed a certain degree of voyeurism in viewing the formation of the subject’s public identity. The viewer however will inevitably consider their personal routines in comparison to these portraits. The viewer is in many ways an equal part of the portrait because they are in turn looking into a mirror just as the subject is.

statement of intent

My current work focuses on identity and its formation. I have been working on a series of portraits that exposes private moments of the personal creation of the persona. Each subject is seen in some part of his or her grooming routine. This may involve choices in clothing, doing make up, combing hair, shaving, etc. These choices, conscious or not, shape others’ perceptions of the subject. Subjects are portrayed performing an act taken directly from their actual actions. The images often take place with the subject looking into a mirror. As each viewer approaches the piece, they meet the gaze of the subject, effectively becoming the reflection of the subject. In this way they are forced to compare and analyze their personal habits.

I would like to install these works in the Rust Hall Gallery space. This space is ideal for the works in that there is enough wall space that the pieces can be separated spatially from each other and from the initial glance of the viewer. This allows the viewer to approach each piece as described above. Beyond that, this space is ideal in that it is a key space in a college of art, a place where identity seems to be a consistent and important aspect of students’ everyday lives.

Statement

I am currently working on a series of portraits which was started last year. The intent of these portraits is to allow the viewer in on private and largely unseen moments in the life of the subject. The subject of each portrait will be depicted in the process of preparing to go out in public, usually in front of a mirror. These moments of preparation are moments in which the individual fabricates part of their public identity. By making choices to wear certain clothes or about grooming habits, the subject is either consciously or unconsciously attempting to control the ways in which people perceive their identity.

The viewer will be allowed to step into the shoes of each of the subjects as they stand in front of the image looking at what should be their own reflection. Instead of seeing themselves, they are placed in front of a private moment of another person. This is to allow the viewer deeper into the subject than is often seen by others. The viewer is allowed a certain degree of voyeurism in viewing a private moment of the formation of the subject’s public identity. The viewer however will inevitably consider their personal routines in comparison to these portraits. This makes the viewer effectively an equal part of the portrait because they are in turn looking into a mirror.