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Call to Artists: Collage & Illustration – The Awakening

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A four-week, virtual/online residency with Kolaj Institute in October 2022
Deadline to apply: Sunday, August 28, 2022

During this project-driven residency, artists will collectively produce a series of collages that illustrate Kate Chopin’s 1899 novel, The Awakening. As a group, artists will analyze the story, discuss themes, uncover symbols, ask questions, and visually interpret the text for a 21st century audience. 

The Awakening focuses on Edna Pontellier, an upper-class New Orleans woman, torn between expectations and desires. In the beginning of the novel Edna appears to live in a semi-conscious state, trapped in the mundane aspects of her life. As the story evolves, she encounters new people and experiences that create an awakening shift within her. Edna begins to view her world differently, and through this lens new relationships emerge while others become strained. In the end, Edna realizes that even if she has her own desires she is still trapped by her societal role.

The Awakening touches on 19th century feminist, identity, and societal themes that are still relevant today, such as;  What does it mean to be a woman? What are the expectations that society puts upon women? Are we bound to what we are born into? What does it mean to transform? What does patriarchy look like in 2022? 

Nancy Bernardo will lead the residency, facilitating the discussion of Chopin’s book. and speak about collage as illustration and how collage artists can engage with the marketplace for illustration. Christopher Kurts will serve as art director for this project and facilitate the collaboration. Heather Ryan Kelley will speak about “The Midden Heap Project” in which she made a collage response to each page of James Joyce’s Finnegans Wake. Wylie Garcia will lead a discussion on the symbology and foreshadowing present in the book. 

Working digitally will be integral to the collaborative process but will not be a prerequisite for acceptance into the residency. We will speak about strategies for adapting your analog process to working digitally as well as what free and available resources exist. We also ask that artists who are already capable of using digital tools for collage support the artists who are learning new skills during the residency. For artists who plan to work with a hybrid analog/digital process, access to a scanner is invaluable.

RESIDENCY LOGISTICS

Dates: October 1 – November 2, 2022

SESSION DATES
Sunday, October 2nd, 1-2PM EST
Wednesday, October 5th, 4-6PM EST 
Wednesday, October 12th, 4-6PM EST
Wednesday, October 19th, 4-6PM EST
Wednesday, October 26th, 4-6PM EST

The residency will begin with an invitation to join the Slack workspace on Saturday, October 1st, followed by a one hour, online Meet & Greet on Sunday, October 2nd, 1-2PM EST. 

The Introduction and Orientation session will take place on Wednesday, October 5th, 4-6PM EST. 

Two sessions with guest speakers are scheduled for Wednesday, October 12th, and Wednesday, October 19th from 4-6PM EST. 

The final session will take place on Wednesday, October 26th, 4-6PM EST. The final deadline to complete the illustrations will be Wednesday, November 2nd. 

Artists are expected to attend all scheduled sessions and complete assignments. The group will individually and collectively produce a series of collage illustrations. By participation in the residency, artists grant Kolaj Institute, Kolaj Magazine, and Maison Kasini permission to publish the images in book form and in the promotion of the project and book. Any original work made during the residency remains the property of the individual artists with all rights retained.

Deadline: 
28/August/2022
Contact & Links: 

Uncommon Prints x Common Matrices

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Woman Made Gallery is seeking submissions for our February – March, 2022 group exhibition juried by Cathie Ruggie Saunders (artist, educator, Professor, Adjunct.  at the School of the Art Institute of Chicago, Visual Communication Design Department and Professor + Chair at Saint Xavier University, Art and Design Department)

This exhibition will be held at Woman Made Gallery located at 2150 S. Canalport Ave., Chicago, IL 60608 in the Pilsen neighborhood. 

EXHIBITION DESCRIPTION

Woman Made Gallery seeks artworks in any medium that explore the concept and techniques of a transfer in new or unique ways.

The tradition of printmaking embraces using a matrix as a master surface from which to take an impression.  Typical matrices would be wood (as in relief printing), Bavarian limestone or aluminum plates (as in lithography), copper or zinc (as in etching, engraving, or mezzotint), and a silkscreen frame and stencils (as in screen printing or serigraphy).

However, if we open up this practice, we might consider so many more common methods of making “marks.”  After a spring shower, walking through a puddle leaves “prints” of the soles of your shoes (or your bare feet) on the sidewalk.  Holding a hot iron a bit too long on a piece of fabric will result in a freshly “printed” burn on the garment.  Eating a voluptuous summer peach will transfer brilliant pink juice onto the napkin that wipes your mouth.

Finger and handprints using earth pigments and plant berries have been used since the Lascaux cave markings in Paleolithic times.  Babies are often documented with their fingerprints or footprint.  Your skin on those appendages is a matrix you carry with you forever.  Have you ever thought of incorporating its artistic potential into your work?

For this exhibition, the juror seeks artwork in any medium that explores the concept or technique of a transfer in new or unique ways, as in the examples above, or in combination with traditional printmaking methods.

The juror is interested in work that investigates:

  • Using unconventional materials that push the boundaries of what is typically considered a printmaking matrix.
  • An awareness of the natural world and human body as potential for artmaking.
  • Where the intersection of prescriptive and informal printmaking practices merge or collide.
  • If quality work is being produced through methods that honor tradition but also bring a contemporary perspective to the definition of the printmaking discipline

ABOUT THE JUROR

Cathie Ruggie Saunders is an artist, educator and mentor. She currently teaches in the Visual Communication Design Department at School of the Art Institute of Chicago, and is the Chair of the Art and Design Department at Saint Xavier University, Chicago IL. She holds an MFA and MA from the University of Wisconsin-Madison and a BA from the Northwestern University. Her work has been displayed in exhibitions held at the San Francisco Museum of Modern Art; Temari Center for Asian & Pacific Fibers, Honolulu, Hawaii; American Cultural Center, New Delhi, India, World Print Competition, San Francisco Museum of Modern Art, Footprint:  Northwest International Small Format Print Exhibition.  Seattle, WA. 

She has won 2 American Graphic Design Awards, First Annual Tampa Book Arts Studio Letterpress Excellence Award in Contemporary Ephemera (with Martha Chiplis); Illinois Arts Council Artists Fellowship; Teaching Excellence Award, Saint Xavier University. Prominent institutions like the Library of Congress, The Art Institute of Chicago, Harold Washington Library Special Collections, National Institute of Design, Ahmedabad, India, Vanderbilt University Jean and Alexander Heard Library, Nashville, TN, Huntington Museum and Library.  San Marino, CA have her work in their collections. Her work can also be found in the publications like For the Love of Letterpress, a Printing Handbook for Instructors and Students, written and designed with Martha Chiplis, 2013 (first edition); 2019 (second edition). Bloomsbury, London.

Deadline: 
12/December/2021

Entry Fee:

Fee Detail: 
$30 with fee waivers available
Contact & Links: 

re:visionism

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Is it possible to distinguish between art and the artist? Do only meticulous cleaners safe us from unsubstantial art? How free can art be? Does the art scene need a radical clearing out? Is Cancel Culture a threat to art or are we all just too sensitive?

re:visionism is an exhibition that addresses those questions and the topic of historical revisionism from an interdisciplinary and boundary transcending point of view inspired by the debate initiated by Moshtari Hilal & Sinthujan Varatharajah about Germany's Nazi background, which manifests in the wealth of German corporations and institutions.

The exhibition aims to offer a critical debate about artists who profited from historical revisionism and whose works and lives are still trivialized and glorified.

Our Open Call invites artists to participate in this exhibition and submit either existing projects or ideas they'd like to realize.

The event is scheduled to take place in November in Wuppertal. Depending on the current situation it will either be shown at „kollektiv drei“ or online.

Furthermore, we are looking for someone whose work raises awareness about historical revisionism, and who'd like to share their knowledge in an (online) workshop. 

To break through patriarchal structures this Open Call is explicitely directed at WLINTA* and BIPoC artists.

Please send any questions or applications until October, 3rd, 2021 to: we.are.hysteria.wtf@gmail.com

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Kann man Kunst und Künstler:in voneinander trennen? Schützen uns eventuell nur eifrige Reinigungskräfte vor inhaltsloser Kunst? Wie frei darf Kunst sein? Braucht die Kunst-Szene mal eine drastische Entrümpelung? Ist Cancel Culture eine Bedrohung für die Kunst oder sind wir alle einfach zu sensibel?

re:visionism soll eine Veranstaltung sein, die sich interdisziplinär und spartenübergreifend mit diesen Fragestellungen und dem Thema des Geschichtsrevisionismus' - unter anderem in Deutschland - befasst.

Ausschlag- und ideengebend war insbesondere die von Moshtari Hilal & Sinthujan Varatharajah

begonnene Debatte über Deutschlands Umgang mit dem eigenen Nazierbe, das sich vor Allem am Kapital deutscher Unternehmen zeigt.

Die Veranstaltung soll eine kritische Debatte um Künstler:innen ermöglichen, die in diesem System von Geschichtsrevisionismus profitiert haben, und deren Leben und Werk (beispielsweise trotz eindeutiger NS-Vergangenheit) auch heute noch weitestgehend unkritisch kommentiert, oder gar glorifiziert werden.

Mit diesem Open Call möchten wir Künstler:innen einladen, sich an der Ausstellung „re:visionism“ , die im November in Wuppertal stattfinden soll, zu beteiligen.

Wenn es die Corona-Richtlinien zulassen, wird die Ausstellung im "kollektiv drei" umgesetzt. Ansonsten weichen wir auf eine digitale Veranstaltung aus.

Wir suchen außerdem eine Person, die sich mit Geschichtsrevisionismus auseinander setzt und ihr Wissen in einem Workshop teilt. Dieser kann sowohl vor Ort, als auch online durchgeführt werden.

Um patriarchale Strukturen, speziell im Kunst- und Kulturbetrieb, zu durchbrechen, richtet sich dieser Aufruf an FLINTA*, Schwarze Künstler:innen und Künstler:innen of Color.

Wir freuen uns über Einreichungen bis zum 03.10.2021 an we.are.hysteria.wtf@gmail.com

Deadline: 
03/October/2021

Entry Fee:

Contact & Links: 

Woman Made Gallery: Boundaries juried by Whitney LaMora

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Woman Made Gallery is seeking submissions for our April-May 2021 group exhibition juried by Whitney LaMora. This exhibition will be held at the gallery and online. Submissions will request the submitter to select participation in (a) the hybrid presentation (at the gallery and online) or (b) the virtual exhibition only.

 

EXHIBITION DESCRIPTION

As the world continues to grapple with an isolated reality at the conclusion of one full year of pandemic conditions, the parameters of how we live and move through the world have drastically changed. While many new physical boundaries have been defined for us, other boundaries were left to be defined. This exhibition considers the magnitude of this particular moment, as well as conceptual dimensions and negotiations of boundaries broadly, and as particularly experienced by womxn and non-binary individuals. We encourage intersectional approaches that include consideration of sexuality, race, class, and disability.

Woman Made Gallery is particularly, though not exclusively, interested in investigating the following conceptual questions for "Boundaries":

  • What are the areas in womxn and non-binary lives in need of boundary definition? How does identity condition the ability to set boundaries?
  • How have physical, virtual, emotional boundaries affected womxn and non-binary folks? How do we protect or find our energy?
  • How do we make sense of work-life balance, within the parameters of our new reality and for those exclusively working from home?
  • What are the digital boundaries set within our physical boundaries at this time?
  • How have conversations and points of connection changed, now with the capabilities to turn off your camera, or mute a person while they speak?
  • How have the newly constructed boundaries disproportionately affected womxn and non-binary folks?

Woman Made Gallery seeks artwork in all mediums. The juror is especially, though not exclusively, interested in artworks from the following mediums:

  • Video work/installation
  • Digital renderings
  • Digital art
  • Photography
  • Textile Work
  • Fiber Work
  • Fiber / textile / fabric / weaving based installations
  • Performance art*

*The ability to perform in the gallery space may be limited due to CDC and City of Chicago COVID-19 guidelines. In the event that a physical performance may not be possible, a video documentation of the performance will be exhibited.

 

ABOUT THE JUROR

Whitney LaMora (she/her) is a queer Chicago-based creative. Her artistic background spans from theatrical production to art curation, entrepreneurial leadership, goal-oriented mentorship, and beyond. She is a champion of interdisciplinary projects and emerging / DIY creators.

She lives in Logan Square, obsessively reads, and takes in plants. Whitney is the creator of multiple Chicago art entities like Locus and the Accountability Club.

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IMPORTANT DATES

EXHIBITION DATES: April 15 - May 16

SUBMISSIONS DEADLINE: March 14 at 11:59 PM

NOTIFICATIONS: March 28

DEADLINE FOR WORKS RECEIVED BY WMG: April 8
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ELIGIBILITY

Woman Made Gallery is a space for Women, Womyn, and Womxn identifying artists from our local community, regionally based, and around the world. We welcome art from all womxn, including trans women and femme/feminine-identifying genderqueer and non-binary artists.

No work may exceed 6’ horizontally or be over 75 pounds in weight unless delivered and picked up by the artist. WMG will refuse receipt of art that is heavier than 75 pounds. Technology and/or works with special instructions will be organized upon acceptance.

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ENTRY FEE

This show, like all juried WMG shows, has an entry fee of $30. Only one submission may be entered per artist. Each submission requires one artwork, though up to three artworks may be considered per submission. Paid submission does not guarantee an exhibition opportunity. No refunds offered.

WMG members at the Enhanced Artist level and above receive one free entry annually. Please email general@womanmade.org to receive your one-time code for free entry redemption.

On a needs basis, WMG offers a limited number of fee waivers upon approved application. Applications are available within each call for entry. The team at WMG will review applications on a rolling basis and send fee waivers within 48 hours of application.

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TERMS OF EXHIBITION

Terms of exhibition will be distributed for agreement to all accepted artists upon acceptance notification. Terms of exhibition include exhibition schedule, shipping and delivery, installation requirements, insurance disclaimer, art sales and commissions, right of reproduction of digital files and images, website and publicity requirements, among others. For details on terms of exhibition, please review details for each call for art or email general@womanmade.org with questions. 

Deadline: 
14/March/2021

Entry Fee:

Fee Detail: 
$30
Contact & Links: 

AURA ZINE ISSUE 1

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AURA @auracurate is an Instagram platform showcasing Women-Identifying Art Creatives, including (but not limited to); Artists, Curators, Art Historians, Designers, Gallerists etc. After 2 months of solely being an online gallery, I am looking to expand the opportunities at AURA by creating a downloadable zine. 

The first issue of the zine will be based on the theme of 'Women Artists' as a whole. 

I am looking for submissions from Women-Identifying Creatives which comment or critique this theme. Submissions can be in the form of:

  • Artwork
  • Art Reviews
  • Think Pieces
  • Art Writing
  • Articles
  • Essays
  • Any other form of work that may hit the brief

 

 

Entry Fee:

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Sound, Language & Position with AGF

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Workshop dates: 17/05/2021 - 2021-08-31
    
Listening is a practice - it is a political act. Sound is a way of knowing the world; a way of orienting ourselves, of expressing, understanding and contextualising our position. We can use sound to make connections, to grow decentralized networks, to organise. The possibilities of language - political language, deconstructed language, poetic language - to organise these networks and connections is intensely powerful and nuanced. What is political sound? Or collective sound? Does it have a transformative quality? How can we make sound together, and decolonize our practice as an individualistic form of expression? What technology can we involve, develop or hack? 

And, as we explore these networks, there are important ethical considerations. What is the relationship between the recorder and recorded? Do I have consent? Is it my place to tell this story?

This workshop will focus on each participant working to develop their perspective on three elements: sound, language and position. Each session will develop from the presentation of new ideas through to a set of directions, and assignments for the next session. There will be face-to-face meetings and group listening, as we manouvre towards the production of a short-form audio work for presentation on recon (https://rec-on.org)

Antye Greie (aka AGF) is an East-German artist and producer living on Hailuoto Island, Finland. She assumes a multiplicity of facets and roles – sound sculptor, poet, composer, gender activist, sound and new media curator. Her experimental music, without completely leaving the dance floor, proves hard to label. Her sounds at times echo musique concrète, other times glitch or noise, alluding to icons like Björk or Laurie Anderson. In spite of her clear poetic tendencies, language requently disappears in her work, drawing the human voice into a game with pure tonalities, beyond worn out recognizable speech. Ambient sounds, synthesized voices, dissonant malfunction warnings drain into the atonal river of post-digital aesthetics.

Having participated in Documenta 14 and Transmediale and received an award at the Ars Electronica festival (2014), Antye Greie is a complex artist whose praxis, though socio-politically laden, goes beyond mere ideology. Her fluctuating, modulating identity composes and recomposes itself from samples, comments, likes, and photos on Facebook, Mixcloud tracks, bytes circulating at dizzying speeds, always one step ahead of the newest control tech.

Antye's installation "Mycelium" - in which mushrooms generate sound, composing music in real time - ties into a larger project entitled (sonic) Wild Code, in which AGF and a group of artists, anthropologists, and computer scientists construct music from the audio feedback caused by rocks, wind, plants, streams, and a metal reindeer fence. These experiences in hybrid ecology were commented on by the artist in a text which recently came out in Musical Instruments in the 21st Century (Springer, 2017), a volume with theoretical underpinnings, broadly, in Deleuze’s theory of assemblages, of hierarchy dissolution, and free, rhizomatic relations.

Antye is an active member of the female:pressure community, and has militated for Kurdish and Syrian women and for the visibility of female electronic music artists and producers, actions echoed in the recent tendencies of Romania’s art paradigm (see Bucharest’s party scene and collectives like Vagenta and Corp). Her discourse aims at promoting equality of opportunity and diversity on the electronic music scene, interweaving power, responsibility and aesthetics.

(Image of Antye by Inkeri Jantti)

Contact & Links: 

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