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.

Regards,

Felicity

Felicity Hogan

Outreach Director
felicity@printshop.org
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.

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

212-673-5390
info@printshop.org
http://printshop.org

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.

Curating Opportunity

VOX POPULI

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: http://voxpopuligallery.org/vox.php?contact_vox=on&id=21

via: Nurture Art

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.

Show Opportunity Katrina-related work

From: "Rehema Barber" < Rehema.Barber@wadsworthatheneum.org>
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!

Sincerely,

Rehema

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

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 www.zeitgeistinc.net zte@bellsouth.net

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.)

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

NOVA Projects

Our new slide registry is up and running and there is a call to New Orleans artists to fill it up...  The details are on the NOVA Projects website on the front page.  It is being curated by Jeanette Ingberman, Exit Art founding director in NYC.  We are very lucky to have her curating.  This first round is to fill up the registry with its first 25 artists, 10 of which will be in the show for ART FOR ARTS SAKE at Barrister's Gallery.  Deadline is August 1st so there is time but not much...

The purpose of the registry is to show New Orleans' has a thriving art community that makes world-class art.  We want to show that good ideas can come from here.  The world thinks of New Orleans as a provincial back-water which is simply not true.  We are a city with many facets, many connections, and we have a world view.  Its different than the rest of the world but its here - here is a chance to show it off!

Any questions about NOVA Projects feel free to contact myself, Dan or Karen. Our contact information is here.

Tim

Constance

Constance is an art and literature publication that explores the fragmentary life that is New Orleans. Publishing various forms of visual art and creative writing, including photography, painting, illustration, drawing, collage, print making, graffiti, graphic design, poetry, fiction, nonfiction and creative nonfiction, Constance offers a fresh interpretation of a city that is in immense, and often times, overwhelming cultural and social flux. Constance aims to not only make sense of the fissured New Orleans identity, but to discover the creative and experimental possibilities of the present historical moment.

Constance is now accepting visual art and writing submissions for Issue 02, Delicate Burdens.

Delicate Burdens seeks work that confronts the everyday experience of making New Orleans home. Bring honest and uncompromising portrayals of yourself, your city and of those that look on or even look away. There’s a double meaning to everything in New Orleans – an anger in the devotion, a pleasure in the pain – and we want you to define it.

Inquiries/Questions to Constance
Mailing Address: Constance, 1437 N Roman Street, New Orleans, LA 70116

call for NOLA artists in Chicago ASAP

Call for NOLA artists for Chicago show posted by Karen Louise Crain, July 15, 2007:

Heather Weathers told me about this Call for Artists for this upcoming Katrina- related show in Chicago. Curated by NOLA native Michelle Mashon the deadline is coming up QUICK—This Wednesday, July 18th!
The great news is that there is no submission fee, artists get 100% of the sale price and shipping is free! I’ve asked the curator for more info on where the show will be and what the exact dates of the show are and will pass those on in a comment to this post when I get an answer. But with the deadline coming so soon I wanted to post asap….

I thought David’s comments a couple of weeks ago on this blog regarding William Steacy were really interesting and the record number of comments suggests how resonate the post was. My thoughts on the subject are far more nuanced than this, but the bottom line is that if we want authentic “Katrina art” we have to make it ourselves and make sure it gets out there. Here’s a chance for us to represent in Chicago….Below is a statement by the curator, along with a bio on her, followed by more info on the show and submission process.

click here to download the curator's statement and application form

In A Responsiveness That Ultimately Expresses Itself In Action

Behind my voice is the chorus of all the other people who made all the other things and all the other people they made them for. All work is collaboration, all work contains the eyes of other artists. I know I’m collaborating with them but they don’t know about this collaboration… vs. say, Francis Alys. I walk his path through Mexico City when I walk Gentilly in New Orleans and he always says, “Point beyond yourself, beyond the diaristic, beyond the artist as solo flyer. Collaborate with your “Self”. Let’s get it on making art in the partnership mode.”

We cannot be in the present moment and run our story lines at the same time. Experiment with this for yourself, and watch how it changes you. Impermanence becomes vivid in the present moment; so do compassion and wonder and courage. And so does fear. In fact, anyone who stands on the edge of the unknown, fully in the present, without a reference point, experiences groundlessness. That’s when our understanding goes deeper, when we find that the present moment is a pretty vulnerable place and that this can be completely unnerving and terribly tender at the same time.

What gets made is no single subject, it’s not appropriation, not about the death of originality, death of the author, blah, blah, blah. It’s a wild, generous, sexy thing. Someone called me an anarchist yesterday; we laughed because it’s true.

The Battersean Bee Station
The Homeless Vehicle
Africa
Re-create forgotten tools
The two towers of Saint Leu d’Esserent

When a particular cultural idea like freedom becomes so abstract and overvalued, as in the case of Richard Serra, that it finally assumes control of the entire personality (or collective mentality) and suppresses all other motivations, then it becomes dogmatic and limiting. Anything which is not “in the whole” is not individuality but egocentrism.

Change is most likely to occur through people who are as far removed from cynicism as they are from utopianism. Making art as if the world mattered. Resisting the dehumanization of art. In order to change the social ills that we see we will first need to change our vision. Art is not only art. I submit that when vision is made concrete and situational, its traditional formalism and abstractness are overcome. In other words, vision that is truly engaged with the world in not purely cognitive, or purely aesthetic, but is opened up to the body as a whole and must issue forth in social practices that “take to heart” what is seen.

Within the framework of art as it is currently understood and practiced, the pedigree of work that is oriented toward compassionate action is always somewhat suspect, not least because its potential for yielding an income is low, and it creates few opportunities for the prevailing business culture. Obviously, in a cultural climate where radical autonomy has been the built-in assumption of artistic practices for so long, to propose a shift in the artist’s role from that of a self-directed, achievement-oriented professional to something like that of a cultural awakener or healer is to open oneself up to the accusation of mistaking art for a medical emergency team trying to save Western culture from itself. I think that is funny and a lot of fun.

Art oriented toward dynamic participation rather than toward passive, anonymous spectatorship has to deal with living contexts; and once an awareness of the ground, or setting, is actively cultivated, the audience is no longer separate. Meaning is no longer in the observer, nor in the observed, but in the relationship between the two. Interaction is the key that moves art beyond the aesthetic mode: letting the audience intersect with, and even form part of, the process, recognizing that when observer and observed merge, the vision of static autonomy is undermined.

“Sea Full of Clouds, What Can I Do?”
World as Lover, World as Self
Walker Mettling
Grief
The Adivasi
A city designed, crumbles
Here to fish?

How do we achieve the “world view of attachment” that James Hillman talks about? At this point we lack any practical blueprint for action, unless we are willing to act as architects and engineer a new conceptual framework for our lives. It is precisely to the periphery and the margins that we must look, if we are to find the core that will be central to society in the future, for it is here that it will be found to be emerging. It is here. You know where to find me.

Authors: “The Sienese Shredder”, “Proxemics”, Jane Hammond, “Bald Ego”, The Federal Levee Breaks That Flooded My City, Frida Motherfucking Kahlo, Pema Chodron, Pigeons, Suzi Gablik, My Great-Grandfather Who Escaped Russia With Nothing But The Violin He Made With His Own Two Hands And My Great-Grandmother Who For Some Reason Tried To Murder Him, Sojurner Truth, Dr. Isabelle Wallace, Chess Life & Review.

Biennal Mardi Gras

Does New Orleans need a Biennal?
There are alot of possible pros and cons for an event like this in our city.
One might question who benefits from something like this, and how.
Does this event improve our public schools or our murder rate? Can a contemporary art that denies its social responsibility have a positive effect in a city that's desperate for social responsibility?

On the flip side, much radical and contemporary art has been made in this city, and it's under the art world's radar. Could a biennal change that?

We live in New Orleans becaue it has a certain quality of insulation to it, like it or not. it's not NY, Los Angeles, Miami or Venice. Will the work of the art industry, in attempting to put N.O. on the comtemporary art world map, a la the above cities, change the character of the city in such a way that those making art here now will want to leave?

There's much to discuss about this. The art industry community has actively set their sights on New Orleans as a location for a biennal. I am curious as to how the artists and arts administrators feel - whether or not this may help them, short term or long term.
What exactly is the goal / hope for an event of this nature being held in N.O. and why specifically N.O.?

Discuss.

-Master of Disaster, guest moderator

art review haikus

beautiful installations at kirsha's gallery, see the post below for info.
haiku for the mcKay's installation:
particles in space
ephemeral point cloud home
shimmer and vibrate

haiku for sally heller's installation (with Thomas little):
colorful web spun
in post-k terrarium
for nighttime gymnasts

-ds

Hot Iron Press Call For Visiting Artists - Printmaking Residency

http://www.hotironpress.com/visitingartists.htm

How the program works:

Selected artists may use the Hot Iron Press letterpress and silkscreen
facilities in New Orleans for free for a period of up to two weeks in order
to work on and complete their proposed project. We welcome all artists to
apply - from those with no prior printmaking experience to seasoned
printmaking experts. Hot Iron Press staff will be available in whatever
capacity the artist needs - anything from occasional technical assistance to
hands-on collaboration in the art-making process. The ultimate goal of the
program is for the artist to use our facilities to complete an editioned
work of art. Upon completion, the artist retains 3/4 of their edition while
Hot Iron Press receives the other 1/4 to sell in our online catalog, display
in art shows, or use for other promotional purposes. While visiting artists
are allowed to use our facilities for free, they are also expected to
provide paper for their project at their own expense as well as any other
items they may need that we don't have on hand. It is also the artist's
responsibility to find and pay for his or her own accomodations and
transportation while in New Orleans, though we can be of assistance in
helping locate affordable options.


Our facilities include:

Showcard sign press (printing area of up to 14.5" x 44.5")

Showcard sign press (printing area of up to 22.5" x 28")

Vandercook Universal I proofing press (printing area of up to 21" x 15")

Chandler and Price guillotine paper cutter (cuts up to 30" x 30" and 3.5"
thick)

120 different typefaces

Various old cuts and engravings

Vaccuum table with hinge clamps for silkscreen (printing surface area of up
to 36" x 60")

Exposure unit (capable of burning image area up to 26" x 42")

Various size silkscreens

Various inks - acrylic for silkscreen; rubber-based, oil-based, and
water-based for letterpress or relief

AB Dick 360 offset press (prints up to 11" x 17")

Drying rack


How to submit a proposal:

There is no deadline for proposals as this program is open year-round.
Interested artists should submit a detailed written description of their
proposed project accompanied by some sort of visual representation of what
they're envisioning (sketches, photos, etc.). Additionally, artists must
submit a resume and 10 to 20 images of previous work (jpegs are preferred,
but slides may also be sent). Proposals may be submitted by email to
hotironpress@hotmail.com
or by regular mail to
Hot Iron Press
1422 Kentucky St.
New Orleans, LA 70117.
Any questions can be directed to Kyle at 504-920-3980.