Friday, August 31, 2007

Lower East Side Printshop, New York, Residency

Dear Friends,

I hope this finds you well, and that you have enjoyed a good summer so
far. I wanted to let you know about a great opportunity for emerging
artists at the Printshop, that is also open to non-printmakers. If you
have any questions, please do not hesitate to contact me, and feel free
to forward this to anyone you think might be interested.

Wishing you a happy holiday weekend.



Felicity Hogan

Outreach Director
212.673.5390. x13

Lower East Side Printshop, New York, offers free year-long
studio residencies for emerging artists. Application deadline is
September 9, 2007; residencies start on October 1st.

Keyholder Residencies include free 24/7 access to a large shared
studio, professional printmaking facilities, storage and basic
supplies, exhibition opportunities, educational programming, and
support services. Artists from all disciplines are eligible;
printmaking skills are not required; basic instruction in printmaking
is available at no cost.

Click here for more information about the studio facilities, and
application requirements.

Sei Kim
Programs Manager
Lower East Side Printshop, Inc.
306 West 37th Street, 6th Floor
New York, NY 10018


Lower East Side Printshop, Inc. (LESP) is a non-profit
printmaking center in New York City that promotes excellence in the art
of printmaking by enabling artists to create new artwork and offering
educational programs for the general public. Founded in 1968 as a
community art center, the Printshop has provided thousands of emerging
artists with studio space, technical and financial assistance. The
Printshop enriches the field by promoting high professional standards
in printmaking, artistic collaboration, innovation, and environmentally
friendly practices. Printshop is the largest openly accessible print
workshop in New York City, with studios open 24/7.

The Lower East Side Printshop's programs are supported by the public
funds from the National Endowment for the Arts, the New York State
Council on the Arts, and the New York City Department of Cultural
Affairs. Private funders include: the Lily Auchincloss Foundation,
Milton and Sally Avery Arts Foundation, Carnegie Corporation of New
York, Con Edison Company of New York, Ford Foundation, The Greenwall
Foundation, The Hyde and Watson Foundation, Jerome Foundation, Wolf
Kahn and Emily Mason Foundation, MacDermid Printing Solutions, New York
Community Trust, New York State Artist Workspace Consortium, The
Pollock-Krasner Foundation, Inc., The Andy Warhol Foundation for the
Visual Arts, our members, and numerous generous individuals.

Monday, August 13, 2007

Curating Opportunity


GUEST CURATED EXHIBITION: Tell all your emerging curator friends that Vox Populi is now accepting proposals for our annual Guest Curated Exhibition in January 2008. Proposals are due September 1, 2007.

For information on how to submit, please visit:

via: Nurture Art

Sunday, August 12, 2007

dialog on New Orleans at IN MEDIA RES

I hope everyone is doing well. I wanted to inform your blog readers about an Internet-facilitated dialog about Katrina, the flooding of New Orleans, and continued political and social issues in the area. We will be posting brief texts and video clips to In Media Res beginning Monday 13 August 2007. In Media Res is a website where media researchers present brief statements and video clips in order to engage with the public about contemporary cultural issues. You can read this material at In Media Res and, more importantly, you can respond to each text. You do need to provide some basic registration information in order to post comments.

This critical engagement relates to ongoing discussions about the ways New Orleans is understood both locally and internationally. Our goal is to engage a larger community in considering what happens to place and site-based identity after it has been produced by the media, how we continue to understand or forget disasters, and the ways political and infrastructural failures may be displaced by narratives about individual “victims” rather than keeping these issues in tension. We also begin to highlight the practices of activists and artists from the area. We hope that you will participate.

The following people will be posting texts and video clips:

Michele White (Monday 13 August)
Betsy Weiss (Tuesday 14 August)
Marline Otte (Wednesday 15 August)
Mark Vail (Thursday 16 August)
Joy Fuqua (Friday 17 August)

The Aesthetic of Disaster: Live, Broken, and Pretty

by Michele White

Driving the New Orleans streets, I cycle between rushes of pleasure at the magnificent architecture and melancholy. Views of cultural heritage are intermeshed with scenes of flooded homes, interiors and personal belongings littering the streets, spray painted signs indicating the bodies and living creatures found after the flooding, and people who struggle to put their lives, homes, and communities back together as buildings molder and sag next door.

In a series of important installations in gutted homes, artists from NOLA have been considering home, stories about disaster, the detritus that is left behind, and how to rebuild community. In Neighborhoods:2426 BRADISH PLACE, NOLA artists presented obsessive archives of detritus; clusters of tin-can phones (Elizabeth Underwood); and chairs filled with books, which were suspended from trees and reminded viewers of lynching, school system failures, and things hanging broken after the storm (Jonathan Traviesa). These neighborhood installations featured broken things displayed against gutted homes--rooms only marked by weathered slats and beams. The artists used materials that are available and appreciated for their beauty--bits of debris, worn wood, and other recycled items--and continue to chronicle endeavors in blogs like Art in Action and Alternative Arts New Orleans.

New Orleans has long been a site of “charming” decay and some tastes--built on the aesthetics of Arte Povera, scatter art, architectural fragments, open beams, and shabby chic--may only increase our appreciation of failure, wear, and neglect and make it more difficult to read what decades of governmental, corporate, and personal disinterest have produced. This aesthetic of breakdown and failure seems to, but doesn’t, connect those who can choose clean parts of it to the material realities of those living in NOLA and other post-disaster places. We need to further theorize this aesthetic and what it renders.

The news produces armchair disaster experts and situates people, through the rendering of liveness and connected spaces, in places they have never been. Nevertheless, some of us are unsure how to speak from and of a place that so many people “know” from the media. In NOLA, we keep telling stories about lost lives, missing stuff, reduced networks and communities, and maggot-infested refrigerators. As the stories repeat, without a new vocabulary that makes them legible to people in other places, we use a language that is harder to understand in a country that has moved on and suggests people can succeed without help, “get over it,” and “love it or leave it.” New Orleanians need, but have not fully found, visual and narrative strategies that have personal meaning and critical power.

Friday, August 10, 2007

Show Opportunity Katrina-related work

From: "Rehema Barber" <>
Date: August 3, 2007 3:01:09 PM EDT
Subject: Open Call for Sculpture and 3-d works for Katrina Show

Hello All:

I hope you are enjoying your summer. I am reaching out to you in hopes that you'll be able to pass along this email to your fellow artists and colleagues that may be interested in the following opportunity. In the Spring of 2008, The Amistad Center is presenting a mixed media show that will be examining the aftereffects of Hurricane Katrina in the Gulf Coast Region. I have found quite a bit of photography and other two-dimensional works, but I really am in need of three-dimensional works for the show. I know this is late notice and I am deeply apologetic about that, but I really need submissions by the end of this month. Please feel free to circulate my contact information (shown below) to any artist that may be interested in the opportunity to exhibit their work in the Katrina show.

Thank you for your help!



Rehema C. Barber
Curatorial Associate
for The Amistad Center for Art & Culture
at the Wadsworth Atheneum Museum of Art
600 Main Street
Hartford, CT 06103
direct: 860.838.4089
fax: 860.527.0803

Thursday, August 2, 2007

Zeitgeist Multi-disciplinary Arts Center – August 2007 Events!

All events are at Tulane University – School of Architecture – Richardson Memorial Building – Rooms 204 or 201 – Next to Loyola University , second building off of St. Charles – Free Parking on campus after 7:00 p.m. and on weekends.

(504) 827-5858

Admission is by donation: $7 general / $6 students & seniors / $5 Zeitgeist members and children 15 and under / Free for Tulane students and Faculty (unless otherwise noted.)

Wednesday, August 1, 2007

Site #22: Butch Merigoni "Sunrise" 9001 Pritchard Place, New Orleans via Art In Action!

Google Map

'Sunrise' is a boxing match in which I will be the only contender. The bout will begin at 6 p.m. on Monday August 6th and end the next day as the sun fully rises (appx. 6 a.m). The consecutive rounds will be 3 minutes in length, divided by 1 minute breaks. Other breaks might be taken out of necessity. This performance will take place on a makeshift boxing ring built in front of Gregory White's home in New Orleans. His neighborhood, a community that is a quarter of what it was before Katrina, is one of many still struggling to rebuild.

The challenges of darkness (literal and metaphorical) truly exist in our lives, no matter how conscious we are of them. Though I will be standing in the middle of what can be the fearful night and repeatedly surrendering, I trust that I will come out whole into the clarity of the next day. In this regard, 'Sunrise' is symbolic of the devotion and risk that life in post-K New Orleans demands of its citizens.

Visitors are welcome to visit the performance at any time but I invite those who make the trek to stay for as long as possible. Given that 'Sunrise' is essentially about allowing quiet space to grow out of surrender, and falling into that space once it has opened, this process will take time. By investing in the performance of 'Sunrise' (the audience is as much a part of the work as anything else) you will participate in the performance and make it your own - it is as much for me as it is for everyone struggling to "let go" and recover their lives. That said, 'Sunrise' is especially dedicated to Gregory's family for many reasons, the least being that their contribution to this performance is priceless.

- Butch Merigoni