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Art & Beyond Special Issue Photography and Digital Art Cover 2016

Art & Beyond Publications
holds Content  and Cover Competition  for Online Special issue: Digital Art and Photography.

Multiple winners will be chosen: Four artists will be awarded to be on the Covers (Front Cover, Back Cover, Inside Front Cover and Inside Back Cover) and 20+ artists will be chosen to be published in the Online magazine.

Winners will be awarded with One Full Page article published in the Art & Beyond Online Magazine and will be promoter to galleries and museums through newsletters, PR and social media.

Deadline: 
17/September/2017
Fee Detail: 
$45.00

Open call for Portuguese artists for PEAC2017 - Portuguese Emerging Art Catalogue

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PEAC2017 — Portuguese Emerging Art Catalogue is a catalogue where the Portuguese emerging art is in the spotlight!

Digital art, generative art, artistic ceramic, draw, sculpture, photography, installation, performance, paint, sound art, video art and web art.

For Portuguese artists with more than 21 years old, based in Portugal or abroad.

EMERGE – Contemporary Art Agency mission is to promote contemporary art, emerging artists in particular. We assume the responsibility to help those artists to draw a path that leads them to a national and international recognition.

PEAC2017 — Portuguese Emerging Art Catalogue meets this mission. Is a project that promotes all the artistic praxis in the Portuguese fine arts field, spreading the best of Portuguese emerging artists work in and outdoors.

Written in English, this catalogue is targeted to very wide audience. From academics to arts professionals, even to the those who want to buy contemporary art artworks. PEAC2017 will be at private and public collectors hands. It will be a physical and online catalogue registered at the National Library of Portugal with ISBN number, and it will be commercialised in more than 65000 bookshops online! 

All applications that meet the requirements will be evaluated by a jury composed of curators and artists:  Cláudia Camacho (Professor at FBAUL - Fine Arts University of Lisbon, Mentor of Art Alibi, CEO of Antiframe and Independent Curator); Jorge Reis (Vice-president of EMERGE, Fine Artist and Independent Curator); Luísa Santos (Gulbenkian Professor, FCH-UCP, CECC and Independent Curator); Mário Caeiro (Professor at ESAD.CR and Independent Curator ); Rudolfo Quintas (Digital Artist); Simeon Nelson (Sculpture Professor at University of Hertfordshire and Fine Artist).

Every artist, collectives and projects with Portuguese nationality, are invited to apply their artworks at  http://peac2017.emergeart.agency to be part of PEAC2017.

Deadline: 
31/January/2017
Fee Detail: 
50€

CANVAS Outdoor Museum Show | November 8-22, 2015

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WEST PALM BEACH, FL
NOVEMBER 8-22, 2015

CANVAS Outdoor Museum Show will come to West Palm Beach on a scale of which the city has never seen. The two week event will begin on Nov. 8 and offer 14 days of interactive art experiences as a prelude to Art Basel as the art world comes to South Florida in early December. CANVAS will lengthen that stay. There’s nothing like this concept anywhere in the world. CANVAS will showcase over 20 artists from around the world with with big name recognition and a few ultra-talented ones who are emerging onto the art scene. They will each paint enormous murals on public and private buildings, constructing public sculptures in parks, and creating installations – all in a walking distance within the Downtown District.

Starting November 9-17, watch the artists live as they unveil new works in over 30 locations around the downtown district, followed by a menu of VIP and Public Days, staring November 18-22. For more information, artist locations and tickets, visit www.canvaswpb.org.

CANVAS is the creative vision of gallerist Nicole Henry, and supported by the West Palm Beach Downtown Development Authority and Arts & Entertainment District, Community Redevelopment Agency, Discover the Palm Beaches, Nicole Henry Fine Art, Palm Harbor Marina, NYY Steak, Seminole Casino Coconut Creek, Tito’s Handmade Vodka, Perrier® Sparkling Natural Mineral Water, Bombay Sapphire®, McDonald Hopkins Law Firm, Atlas Real Estate Partners, Lamborghini Palm Beach, Elite Stor Capital Partners, INSTAGRAFITE, Cravy and Uber.

Official 2015 Artlist Lineup

2ALAS / BIK-ISMO / CHERYL MAEDER / WRDSMTH /JEAN-LUC MOERMAN / JEREMY PENN / JOSE BEDIA / KAI / KATJA LOHER / KOBRA / MICHAEL DWECK / REGISTERED ARTIST / RON ENGLISH/ SEAN YORO (AKA HULA) / ZEUS / PASTEL / GREG MIKE / HERAKUT / CASE

 

Geometry of the Absurd: Recent Paintings by Peter Halley

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Peter Halley, Bluff, 2007. Acrylic, fluorescent acrylic, and Roll-a-Tex on canvas. Collection of Nicholas Hunt.

For over 30 years, Peter Halley’s paintings, with their characteristic Day-Glo color and distinctive faux-stucco surfaces, have engaged in variations on the same closed set of geometric forms, designated by the artist as prisons, cells, and conduits — “icons that reflect the increasing geometricization of social space in the world in which we live.”

[1]

 

Treating space as a manifestation of social control—an idea inspired by the artist’s interest in Michel Foucault’s notion of a carceral society—Halley’s paintings provide metaphors for the constantly proliferating communication and organizational networks that have come to dominate our world. Over a career of three decades, the artist has deployed his trademark iconic forms with ever increasing intensity, resulting in works with ever more dazzling combinations of color, shape, and texture, assuring their continuing relevance in the post-millennial information age.

 

A progenitor of neo-conceptual painting, Peter Halley is widely recognized for expanding 20th-century non-objective geometric painting by tying its meaning to the social landscape, communications networks, and digital technology. Halley began exhibiting in the mid-1980s alongside such artists as Sarah Charlesworth, Jeff Koons, Haim Steinbach, and Philip Taaffe. His early works drew inspiration from the urban environment of New York City, New Wave music, and the French post-structuralist writers. The scope of Halley’s ambitions has expanded throughout the years. In the 1990s, he founded index magazine and began making site-specific installations incorporating digitally-printed wall murals. In the 2000s, he served as director of Yale’s prestigious MFA painting program and has engaged in a series of collaborative projects with designers and architects including Alessandro Mendini.

 

Geometry of the Absurd: Recent Paintings by Peter Halleyfeatures eight large paintings produced between 2007 and 2015. The paintings selected for the exhibition share in common a distinctive double-stack composition—with two prisons or cells, one precariously suspended above another. This work presents, as Colin Gardner suggests in his catalogue essay, “a twist on the artist’s earlier horizontal, side by side cell and conduit paintings (with their necessary sense of enclosure).” The dynamic of each painting is found in the endlessly jockeying for position of two prominent shapes, as if each is attempting to be “on top.” Together, these works project a worldview in which technology and social connections have run amuck, expressed through a geometry that has lost its claim to rationality and become senseless and absurd.

Peter Halley was born in 1953 in New York, attended Phillips Academy in Andover, Massachusetts, and graduated from Yale University with a BA in Art History in 1975. He lived in New Orleans in the late 1970s, where he studied painting at the University of New Orleans, receiving his MFA in 1978. He has lived and worked in New York since 1980. In 1985, Halley had his first one-person exhibition at International with Monument, a groundbreaking East Village gallery, whose conceptually rigorous program stood in stark contrast to the then-dominant Neo-Expressionist movement. Beginning in1991, a survey of Halley’s work, organized by the CAPC Musée d’art contemporain in Bordeaux, France, toured Europe with stops at the Musée d’art contemporain, Lausanne, Switzerland, the Museo Nacional Centro de Arte Reina Sofía, Madrid, and the Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. In 2014, an extensive exhibition of his work took place at the Museé D’Art Moderne in Saint Étienne, France.

 

Halley has executed permanent installations at the Dallas/Fort Worth International Airport and the Gallatin School at New York University. He has taught at the School of Visual Arts, New York, the University of California, Los Angeles, and Columbia University. He served as the Director of Graduate Studies in Painting and Printmaking at the Yale University School of Art from 2002 to 2011. He published index magazine from 1996 to 2005. Halley is also recognized for his critical writing. In 2013, his texts were anthologized in Peter Halley, Selected Essays, 1981-2001, published by Edgewise Press, New York.

Geometry of the Absurd: Recent Paintings by Peter Halley is accompanied by a color illustrated catalogue with an essay by Colin Gardner, author; Ph.D. in Cinema Studies; and Professor, Integrative Studies/Critical Theory and Department Chair of the Department of Art, University of California, Santa Barbara. The exhibition is organized by Julie Joyce, Curator of Contemporary Art at the Santa Barbara Museum of Art. 

 

Generous support for Geometry of the Absurd: Recent Paintings by Peter Halley has been provided by Martha and John Gabbert, Elaine and Michael Gray, Judith Hopkinson, and The Museum Contemporaries of the Santa Barbara Museum of Art.

 

 

 

 

 

 

 

Peter Halley, Bluff, 2007. Acrylic, fluorescent acrylic, and Roll-a-Tex on canvas. Collection of Nicholas Hunt.

 

The Santa Barbara Museum of Art is a privately funded, not-for-profit institution that presents internationally recognized collections and exhibitions and a broad array of cultural and educational activities as well as travel opportunities around the world.

 

Santa Barbara Museum of Art, 1130 State Street, Santa Barbara, CA.

Open Tuesday - Sunday 11 am to 5 pm, Chase Free Thursday Evenings 5 – 8 pm

 

805.963.4364 www.sbma.net

 




[1]

http://www.peterhalley.com/

Geometry of the Absurd: Recent Paintings by Peter Halley

Share

Country:

Peter Halley, Bluff, 2007. Acrylic, fluorescent acrylic, and Roll-a-Tex on canvas. Collection of Nicholas Hunt.

For over 30 years, Peter Halley’s paintings, with their characteristic Day-Glo color and distinctive faux-stucco surfaces, have engaged in variations on the same closed set of geometric forms, designated by the artist as prisons, cells, and conduits — “icons that reflect the increasing geometricization of social space in the world in which we live.”

[1]

 

Treating space as a manifestation of social control—an idea inspired by the artist’s interest in Michel Foucault’s notion of a carceral society—Halley’s paintings provide metaphors for the constantly proliferating communication and organizational networks that have come to dominate our world. Over a career of three decades, the artist has deployed his trademark iconic forms with ever increasing intensity, resulting in works with ever more dazzling combinations of color, shape, and texture, assuring their continuing relevance in the post-millennial information age.

 

A progenitor of neo-conceptual painting, Peter Halley is widely recognized for expanding 20th-century non-objective geometric painting by tying its meaning to the social landscape, communications networks, and digital technology. Halley began exhibiting in the mid-1980s alongside such artists as Sarah Charlesworth, Jeff Koons, Haim Steinbach, and Philip Taaffe. His early works drew inspiration from the urban environment of New York City, New Wave music, and the French post-structuralist writers. The scope of Halley’s ambitions has expanded throughout the years. In the 1990s, he founded index magazine and began making site-specific installations incorporating digitally-printed wall murals. In the 2000s, he served as director of Yale’s prestigious MFA painting program and has engaged in a series of collaborative projects with designers and architects including Alessandro Mendini.

 

Geometry of the Absurd: Recent Paintings by Peter Halleyfeatures eight large paintings produced between 2007 and 2015. The paintings selected for the exhibition share in common a distinctive double-stack composition—with two prisons or cells, one precariously suspended above another. This work presents, as Colin Gardner suggests in his catalogue essay, “a twist on the artist’s earlier horizontal, side by side cell and conduit paintings (with their necessary sense of enclosure).” The dynamic of each painting is found in the endlessly jockeying for position of two prominent shapes, as if each is attempting to be “on top.” Together, these works project a worldview in which technology and social connections have run amuck, expressed through a geometry that has lost its claim to rationality and become senseless and absurd.

Peter Halley was born in 1953 in New York, attended Phillips Academy in Andover, Massachusetts, and graduated from Yale University with a BA in Art History in 1975. He lived in New Orleans in the late 1970s, where he studied painting at the University of New Orleans, receiving his MFA in 1978. He has lived and worked in New York since 1980. In 1985, Halley had his first one-person exhibition at International with Monument, a groundbreaking East Village gallery, whose conceptually rigorous program stood in stark contrast to the then-dominant Neo-Expressionist movement. Beginning in1991, a survey of Halley’s work, organized by the CAPC Musée d’art contemporain in Bordeaux, France, toured Europe with stops at the Musée d’art contemporain, Lausanne, Switzerland, the Museo Nacional Centro de Arte Reina Sofía, Madrid, and the Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. In 2014, an extensive exhibition of his work took place at the Museé D’Art Moderne in Saint Étienne, France.

 

Halley has executed permanent installations at the Dallas/Fort Worth International Airport and the Gallatin School at New York University. He has taught at the School of Visual Arts, New York, the University of California, Los Angeles, and Columbia University. He served as the Director of Graduate Studies in Painting and Printmaking at the Yale University School of Art from 2002 to 2011. He published index magazine from 1996 to 2005. Halley is also recognized for his critical writing. In 2013, his texts were anthologized in Peter Halley, Selected Essays, 1981-2001, published by Edgewise Press, New York.

Geometry of the Absurd: Recent Paintings by Peter Halley is accompanied by a color illustrated catalogue with an essay by Colin Gardner, author; Ph.D. in Cinema Studies; and Professor, Integrative Studies/Critical Theory and Department Chair of the Department of Art, University of California, Santa Barbara. The exhibition is organized by Julie Joyce, Curator of Contemporary Art at the Santa Barbara Museum of Art. 

 

Generous support for Geometry of the Absurd: Recent Paintings by Peter Halley has been provided by Martha and John Gabbert, Elaine and Michael Gray, Judith Hopkinson, and The Museum Contemporaries of the Santa Barbara Museum of Art.

 

 

 

 

 

 

 

Peter Halley, Bluff, 2007. Acrylic, fluorescent acrylic, and Roll-a-Tex on canvas. Collection of Nicholas Hunt.

 

The Santa Barbara Museum of Art is a privately funded, not-for-profit institution that presents internationally recognized collections and exhibitions and a broad array of cultural and educational activities as well as travel opportunities around the world.

 

Santa Barbara Museum of Art, 1130 State Street, Santa Barbara, CA.

Open Tuesday - Sunday 11 am to 5 pm, Chase Free Thursday Evenings 5 – 8 pm

 

805.963.4364 www.sbma.net

 




[1]

http://www.peterhalley.com/

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