from the editor
Recently, LA Times critic Leah Ollman mentioned to an audience at The University of Texas that critics publishing on the internet trade the relative silence of a print audience for the relative inanity of web audience posting off-the-cuff comments. Nonetheless, this issue of …might be good introduces a comments feature. You can now (finally, we know, it’s been a long time coming) post your thoughts and responses at the bottom of any article.
Boston’s Big Red & Shiny beat us to this a while ago. In their most recent issue they address the tone of the comments posted to their articles, and Steve Aishman notes the differences between an argument and a fight. We welcome arguments.
Take advantage of our new comments section to join the conversation about the Texas Biennial in this issue: an interview with curator Michael Duncan, thoughts on the TXB from Dana Friis-Hansen and Jade Walker, and my review of Kelli Vance’s TXB solo show. Also in this issue, an interview with the CAMH’s soon-to-be new director Bill Arning only begins to portray Arning’s warm, energetic disposition. We can’t wait to have him in Houston. Bill, check out those highways (above).
In our next issue, look forward to reviews from Austin (Birth of Cool at the Blanton and Tom Molloy at Lora Reynolds), Fort Worth (Jeff Elrod at The Modern), Houston (Rachel Hecker at Texas Gallery) and New York (Florian Slotawa at P.S.1). And, best of all, Gavin Morrison will propose a Texas Pavilion at the 2011 Venice Biennial. We've got our own, now we want to crash someone else's.
Claire Ruud is Editor of ...might be good and Associate Coordinator of testsite.
by Claire Ruud
Bill Arning. Photo by Topher Cox.
Bill Arning will arrive in Houston, where he's been appointed director of the Contemporary Arts Museum, early next month. Making the leap from curator (he's been at MIT's List Visual Art Center for the last eight years) to director may come naturally to him. Not only is he at "that point" in his career, but he also been a director before, when he was at White Columns from 1985 to 1996. A recent interview with Big Red & Shiny informed some the questions I posed to Arning when we talked on the phone earlier this week.
…might be good: So you’re learning to drive before you get to Houston.
Bill Arning: I’ve had six classes, and I’m beginning to understand why people get addicted to their cars.
…mbg: What’s the first thing you’re going to do when you arrive at the CAMH on April 6?
BA: I’m going to sit down and meet one on one with all the staff. A change of directorship is an opportunity to do an inventory of how staff talents and energies are used. In every institution, people have to step up to the plate to get things done and take on duties that are never written down in any job description. This is an opportunity to reevaluate, find out what’s getting in the way of productivity and match people’s talents with what they’re actually doing.
…mbg: Anything you’re particularly looking forward to doing as a director?
BA: In this type of a leadership position, I get to encourage the creativity of others. Given the current financial situation, fundraising will be difficult and we’ll have to rely on limited resources and innovative thinking to generate excitement around the institution.
Walking through the Armory last weekend, everyone was talking about the losses their institutions have suffered in terms of staff and donations. The whole field is braced for the worst; everyone had a stiff upper lip about it and was focusing on the positive elements of the situation.
…mbg: The CAMH used Phillips Oppenheim to find you. How do you think this huge placement firm changed the face of museum director searches across the country?
BA: They’ve streamlined the process so that people don’t have to rely on their personal networks to find or fill positions. For the past five years, they’ve checked in with me every four months or so. They keep in touch with everyone and keep track of who’s at what point in their careers. As I said to Big Red & Shiny, there’s some pressure for good curators to step up and become directors, because there’s a fear that if we don’t, business people will take these jobs. But even though the fear is there, we’re not really seeing that happening right now.
…mbg: So are there less bad fits with Phillips Oppenheim?
BA: There will always be the occasional bad fit. Jeffrey Weiss has been very open about what a bad fit DIA Beacon was for him, coming out of the academy as he did. [This “match” was not facilitated by Phillips Oppenheim.] Curators become ready to direct in many ways. At the Armory, I ran into two new curators turned directors, Madeleine Grynsztejn and Philippe Vergne, and they both told me, “you’re going to love it.”
…mbg: So what is it about Houston and the CAMH that make this the right fit for you?
BA: Houston has one of the strongest ecologies of alternative spaces in the country—Lawndale, DiverseWorks, Project Row Houses. I come from this kind of background working in alternative art spaces.
…mbg: What’s the CAMH’s place within this ecology?
BA: Given the complex network of alternative spaces that already exist, the CAMH has the opportunity showcase contemporary practice that informs the idea of “today,” particularly in terms of what’s happening globally.
…mbg: You’re known in Boston for making young alternative spaces part of your regular circuit. What kind of exploring of this sort have you done in Houston so far?
BA: Aurora comes to mind. In fact, the Saturday after I arrive in Texas, I’m going over to Aurora to see the work of a friend of mine, Emily Hubley. I want to get plugged in as soon as I can; I don’t really understand what people who don’t get involved with this stuff do for fun. Last Saturday I spent the evening in Williamsburg seeing a lot of performances at off-the-grid spaces. I think I saw almost every one on my list.
…mbg: Where did you get the list?
BA: I find things on Facebook. In Boston, all the schools draw a lot of young artists, theoreticians and writers, and they open up tons of small spaces that often have kind of short shelf lives. If you’re not on the email list or in the Facebook group, you don’t hear about them. In fact, I just heard about the Orange Show and joined their Facebook group.
…mbg: Do you twitter?
BA: I joined twitter a while ago but never really got into it. But I update my Facebook status from my Blackberry. Last weekend I saw the Kippenberger retrospective, and his really strong death drive seemed to run throughout the entire show. He was obviously a genius but super depressed, and the show left me feeling quite down that no one in this social artist’s world intervened. I wrote on Facebook that I found the death drive in the work to be troubling, and not an existential statement, and it sparked a whole conversation between maybe twenty people.
…mbg: Yeah, the 160 character limit on status updates encourages short, pithy statements that can be quite provocative. So can I friend you?
BA: Please do.
Claire Ruud is Editor of ...might be good and Associate Coordinator of testsite.
by Katie Anania & Katie Geha
Jayne Lawrence, Integument (detail), 2008, Graphite, watercolor and colored pencil on Lenox, 48 x 48 inches. Courtesy the artist.
Michael Duncan, an L.A.-based independent curator and critic, chatted with ...might be good over email about his experience curating the Texas Biennial this year.
…might be good: What criteria did you have in mind when selecting artists for the Texas Biennial?
Michael Duncan: Since the group shows are based on open submissions, I wanted my selections to be as broad-minded as possible. Of course, my own prejudices came into play as well. I happen to respond best to figurative and narrative work but I made room for abstraction and a few conceptual pieces. I tried to include work in as many mediums as possible: painting, sculpture, crafts, ceramics, installation, printmaking, photography, performance and video.
…mbg: As you traveled around Texas visiting artist's studios, were there certain themes that re-emerged throughout the artists' work?
MD: The themes don’t seem specific to Texas art. Some of the recurring themes center on the fragmentation of the human body, a skewed sense of nature, celebratory ornamentation and a sense of place and displacement.
…mbg: On the Texas Biennial website, you compare the Texas art scene to that of Los Angeles in 1991, when you began writing and curating in that region. You comment on the "deep spiritual integrity" and "free-spirited thinking" of Texas artists and imply that many of these artists are marginalized by the larger art world. What are the stakes of romanticizing or essentializing this region, that is, casting Texas as a nascent, "Wild West" climate that is underdeveloped with respect to other, larger cities?
MD: I think celebrating the idea of independent thinking is a healthy thing to do. All visual artists in our mass-media-dominated, dumb-dumb culture are “Wild West” pioneers of thought and image. I’m happy to essentialize good visual artists as being independent free-thinkers. Texas just seems to me a more independent, less brainwashed locus for art-making today. I do feel that the art in the Texas Biennial is fresher than most of what I've seen in LA galleries in the past three years. Too much there is trendy, ponderous, attitudinal, sloppy, solipsistic, boring or hateful. I like the opposite of all those things.
…mbg: To perhaps efface the last question (I love doing that), you do put certain "regional" artists into broader art historical contexts in your curatorial statement. If you were constructing an imaginary show to include someone like Kelly Fearing—a show that would travel and might be exhibited at larger venues—what might such a show look like?
MD: A show including works by Kelly Fearing would center on meditative, spiritually evocative nature studies and portraits. The exhibition might also include works by Morris Graves, Melissa Miller, John Wilde, Jared French, Sarah Canright, Tom Knechtel, Thomas Woodruff, Pajama, John Paul Jones, Julie Heffernan, Joan Brown, Gregory Gillespie, Gertrude Abercrombie, Alice Neel, Louise Bourgeois and Kiki Smith. If only an American museum had the nerve to present such a radical show.
…mbg: What have been the advantages and disadvantages of putting the Biennial in the hands of a single curator from outside of the state, rather than, say, a curator more familiar with Texas-based artists?
MD: The only real prejudice in the selection process was an attempt to make the show less Austin-centric. The Biennial needs funds to help promote the show during submission season so that more artists across the state know about it. It must be stressed that the funding for the Texas Biennial is miniscule and the project has relied almost solely on the good spirit and generosity of its organizers.
I hope the Texas Biennial continues next time with a solo curator. It was certainly fun and a real revitalization for me.
…mbg: If you had to choose a title for this Biennial, what might that title be?
MD: Art is Big.
Katie Anania is a curatorial researcher at Fluent~Collaborative and an assistant editor of ...might be good.
Katie Geha is pursuing a Ph.D. in art history at the University of Texas at Austin.
MASS Gallery, Austin
Closed February 21
by Dan Boehl
to the editor
To the editor in response to TXB 09,
Thank goodness for growth, both in the arts community in Austin and in our newly renovated 2009 Texas Biennial. I am thankful for the expansion of art venues, influx of artists and curators, as well as the flow of collectors who are asserting themselves as permanent fixtures in Austin. Galleries like Art Palace that exhibit emerging Austin artists help to keep people like Eric Zimmerman fed and working locally. The new single guest curator format used for the 2009 Texas Biennial offers an expansive vision of work produced in Texas, while acknowledging Austin as an innovative place to experience, make, and exhibit art. Combining guest curator Michael Duncan’s vision with that of local curator Risa Puleo, Assistant Curator of Contemporary Art at the Blanton Museum of Art and Art in Public Places panel member, the 2009 Texas Biennial celebrates the interests of a curator working right here in our back yard.
Reinventing this year’s Biennial is no surprise considering the scope of what Shea Little, Joseph Phillips and Jana Swec have been able to do with their own artist endeavors as a collective, Big Medium as a venue and the East Austin Studio Tour as an annual attraction in Austin. They manage to stay neutral in opinion while simultaneously aggressive about getting art into the public realm, all with little to no budget.
Logistically, a welcomed improvement to the Biennial is the growth of the website, including more in-depth content and video. More is still needed to put Austin on the artistic map and to place Austin artists in more established art spaces and larger collections. It seems crucial to focus the next edition of the Biennial on traveling the exhibitions and creating partnerships throughout the state of Texas. I admire the ambition of the Biennial team to visit artists throughout our state; now they just need to secure the support of larger institutions.
Director, Creative Research Laboratory
To the editor in response to TXB 09,
This time, I’m most excited about the chosen format for the Texas Biennial. Inviting one curator rather than a committee to make a selection brings a fresh (and single) vision to the project, and Michael Duncan was an inspired choice. As a curator and critic, he’s always taken a path that celebrates originality, insights and risk-taking, making this Biennial feel energized, playful and gutsy. His idea to interlace a retrospective for Kelly Fearing (was it really six years ago that CRL and Flatbed presented their big show?) into the group shows was wonderful, and the resurrection of his rarely-seen slide and music works was a great accomplishment. Having small solo shows from each region allows Austinites and others who visit from afar to get a strong dose of accomplished artists we should know better, and the collaboration with AIPP allows Austin to expand its dialogue and experience of temporary public art. All this, plus a catalogue in a box—congratulations to all involved!
Director, Austin Museum of Art
Project Space: Sterling Allen
by Dan Boehl
During his residency at Artpace San Antonio, Sterling Allen has been making sculpture on a scale he hasn’t attempted before, constructing 3 full-sized playhouses from materials he finds on the street, in thrift stores or purchases from dollar stores. Replete with accoutrements like satellite dishes, chicken-bodied weathervanes, shutters and outdoor faucets, Allen uses an assembly line process to make each house “identical.”
Allen came upon the assembly line idea while on a studio visit in Kansas City. The artist he visited was busy making an edition of “identical” sculptures, but Allen could actually see with his own eyes the flaws and discrepancies that made each sculpture unique.
These nuances intrigued him, so he decided to create his own edition, knowing full well that the materials he chose would doom the perfect edition to failure. Each videocassette he uses as a roofing tile, each plate as a satellite dish, each ankle height boot on a mailbox has a different degree of wear. In effect, the mass produced editions of these consumable products bear the nuanced signature of the people that used them. The houses are just like any assembly line production, an edition made of editions, each unique in its own way, each scarred by the idiosyncrasies of the maker.
Somewhere in all of this is rooted the spirit of DIY editioning that Allen employs in his drawings of photographs, drawings of drawings of drawings and his sculptures of drawings of drawings.
Once the houses are complete, they will sit in the gallery space together. Allen will send an image of the little neighborhood to an art copying sweatshop in China and have an “identical” edition of 3 paintings made by 3 separate artists, “Artist of Light” style. The paintings will thus complete an edition of an edition of an edition. Depending on what the paintings look like, they will either lift the neighborhood into the realm of fine art, or deflate the spirit of DIY creativity, rendering the houses into soulless aspirations, like the now identical and defunct exurb housing projects ringing California and Florida cul-de-sacs: more used merchandise that no one knows what to do with.
Don't Step on the Grass!
by Kate Watson
Bill Davenport, Mushroom Grove, 2009.
Still have an art hangover from last weekend, you say? We’re not sure if it was all the Tito’s flowing or the gossip flying, but we’re tired too. It’s no excuse not to get some fresh air, we say. Heck, this might be the last chilly weekend in Austin until next winter! Love it before we’re all drowning our sweaty sorrows in buckets of Lone Star as the temperature starts climbing.
Pounding the pavement
Public art that doesn’t…well…horrify us? You’re blowing our minds. Former Fluent~Collaborative gang member Risa Puleo impressively ups the stakes of the Biennial with her deft curation of seven commissioned Temporary Outdoor Projects. Dig your umbrella out of storage and hunt down these pieces around town.
Get Outta Town
Okay Mountain’s very own Tim Brown has a show opening at Houston’s wonderful Lawndale Center this weekend. Will we ever see the OkM crew back together again in Austin? These sk8er bois-turned-jetsetters seem to be everywhere these days.
Get…Really Outta Town
Marfa+New Orleans+eco-consciousness? That is one jam packed trio. Check out Paul Villinski’s Emergency Response Studio at the Ballroom, opening this weekend.
Curling up at Home…Someone else’s, that is
Andrew Jeffrey Wright: Do You Believe in Art?
March 21, 2009, 6-9pm
In this exhibit, Philadelphia artist Andrew Wright presents paintings, drawings, videos, collage, photography, and screen prints. The opening also includes the artist's special presentation of art jokes and performances by Sweatheart and narwhalz (of sound).
Austin on View
Lora Reynolds Gallery
Through April 25
Intense. For each of the six graphite drawings in Lucid, from which the show takes its title, Tom Molloy has interwoven recognized war imagery with pornography. Sex, death, torture, exploitation. Talk about the ethics of representation.
Blanton Museum of Art
Through June 21
Lisi Raskin explores our culture of anxiety, which is rooted in the Cold War and resonates with our current cultural and political climate, in Armada. This exhibit includes sculptures based on the forms she found at the Aerospace Maintenance and Regeneration Group (AMARG), a storage facility for military airplanes and aerospace crafts located at Davis–Monthan Air Force Base near Tucson, Arizona.
Through April 5, 2009
The collaborative artist duo, Otis Lucas (Patrick Xavier Bresnan and Ivete Lucas), documents in a multitude of media the recuperative efforts to rebuild a community after the devastation of catastrophe. The artists spent a month in Cameron, Louisiana working with the Mennonite Disaster Service to rebuild homes for victims of Hurricane Ike. The photographs, sound pieces, and videos detail with startling frankness the post-disaster landscape, and provide an intimate view into a Mennonite community of rebuilding volunteers.
Birth of the Cool: California Art, Design, and Culture at Midcentury
The Blanton Museum of Art
Through May 17
The Blanton Museum of Art presents Birth of the Cool, a blockbuster show encompassing the painting, architecture, furniture design, decorative and graphic arts, film, and music that launched mid–century modernism in the United States and established Los Angeles as a major American cultural center.
Lordy Rodriguez: States of America
Austin Museum of Art
Through May 17, 2009
Take a road trip with Lordy Rodriguez and witness his remapping of America. Rodriguez's decade-long project explores the addition of five new states that have saturated our geography--the Internet, Hollywood, Monopoly, Disney, and Territory. States of America is curated by Eva Buttacavoli, Director of Exhibitions and Education at the Austin Museum of Art.
Texas Biennial Solo Shows: William Cannings, Lee Baxter Davis, Jayne Lawrence, Kelli Vance
Okay Mountain, Big Medium, Pump Project & MASS Gallery
Through April 11
William Cannings explores the effects of compressed air on permanent materials, such as aluminum and steel in his sensuous sculptures at Okay Mountain. Lee Baxter Davis's prints and drawings are intricate explorations of, to use his words, "the conflict between observed biological facts and certain metaphysical models of paradise, or the reality of death and concept of immortality." Jayne Lawrence's creatures at MASS are somehow magical in quality. And Kelli Vance's oils on canvas are erotically forboding. PLUS go see the temporary outdoor projects installed around town.
Texas Biennial: Wide Open Group Show
Women and Their Work
Through April 11
Thirty-one artists present an array of artworks, from installations to paintings, for the Texas Biennial. Exciting and Eclectic.
Texas Biennial: Big Tall Group Show
Mexican American Cultural Center
Through April 11
Leslie Mutchler & Naomi Schlinke
d berman gallery
Through April 11
Leslie Mutchler's collages, digital drawings, recycled paper and coroplast installations investigate consumer desire for an organized lifestyle. Using catalogue glossies from Crate & Barrel, Ikea, Pottery Barn, and others, she creates a hybrid-form of organization.
Naomi Schlinke describes her ink clayboard work, “My work celebrates the flux of living form and the patterns that underpin reality … Momentary and unique in the way that process-based art can be, these are images of ‘formation in progress’, equally legible at the micro or macro levels … Some aspects of an image can be found in a flash; others reveal themselves slowly and methodically.”
Houston on View
Claire Fontaine: Call + 972 2 5 839 749
On view until March 22, 2009
Claire Fontaine is a politically-charged Paris-based art collective who claims that love, love as found in a collective, allows us to unite and rise against fear and governmental terror. Through Claire Fontaine's works of appropriated and altered found objects and visual culture, they hope to simultaneously subvert and call attention to these cultural and political realities of today.
Dallas on View
Mike Osborne: On Location Beijing
Holly Johnson Gallery
On view until March 21, 2009
Mike Osborne’s new photographs present Beijing’s transformation in almost theatrical terms focusing on the city in the final months before the Olympic Games.
Todd Eberle: America
Light & Sie
On view until April 4, 2009
The exhibition begins with the American flag and presents an image of Eberle’s grandparents next to a full scale mock-up of the Oval Office created for the Clinton Library in Little Rock, AR and a picture of a lunch plate from inside Air Force One. The exhibition ends with three images: a pastoral landscape from Connecticut, a bronze statue of Walt Disney and Mickey Mouse and Wynton Marsalis playing his horn with a surreal New York City Landscape as a backdrop. How does Eberle get from here to there? You'll have to go find out.
Olin Travis: People, Places and Vision
The McKinney Avenue Contemporary
On view until March 28, 2009
People, Places and Visions explores four decades of Olin Travis' paintings beginning in 1916. Olin Travis, who was Dallas’ first artist to complete his degree at a major art institute and founded two art schools, made artworks that investigate nature and the self through a variety of mediums and genres.
On view until April 30, 2009
YBA Richard Patterson currently lives and works in Dallas. While it's beyond us why anyone would move from London to Dallas, we feel blessed to have Patterson around.
Dennis Harper, David Waddel & Kelly Ulcak, and Tim Brown
Lawndale Art Center
March 13, 2009, 6:30-8:30pm
This multi-exhibition opening includes artist Dennis Harper's sculptural and video installations, David Waddell's and Kelly Ulcak's collaborative artworks inspired by escaped prisoner encounters in "Allegory of the Cave" from Plato’s Republic and Austin's own Tim Brown's installation investigating the relationship developed in call centers.
Houston on View
On view until April 18, 2009
In this group show, artists present artworks that interpret the warning signs that signaled the demise of previous cilizations, addressing our relationships with process and change.
Paul Villinski: Emergency Response Studio
March 14, 2009, 3-6pm
Finding inspiration from the post-Katrina New Orleans environment, Villinski transformed a FEMA-style trailer into a sustainable solar-powered and green work space. First traveling througout New Orleans, this trailer, the Emergency Response Studio, makes its way to Marfa and demonstrates the artists attempt to assist the ravaged New Orleans region through creative means.
San Antonio on View
Kehinde Wiley: The World Stage: Africa, Lagos ~ Dakar
On view until May 3, 2009
In The World Stage: Africa, Lagos ~ Dakar, Artpace showcases nine paintings by Kehinde Wiley that place everyday people into pictorial conventions found in Western art history. Wiley represents persons in poses based on public sculptures that celebrate Nigerian and Senegalese independence from colonial rule and uses patterns based on traditional clothing worn by West African women.
UTSA Satellite Space @ Blue Star
On view until March 22, 2009
Apparatus brings together the work of three artists, Dylan Collins, Andries Fourie and Donald Henson, who explore the correspondences between mechanical systems and the human body's operations.
San Marcos on View
Alyson Fox, Misako Inaoka, and Mimi Kato: WHAT ISN'T IS
Texas State University Gallery
On view until April 7, 2009
Alyson Fox, Mimi Kato and Misako Inaoka, three artists whose work addresses issues of identity and culture, come together to exhibit sculpture, drawings, paintings and photographs that artfully blur the lines between their artistic studio practices. The gallery doesn't have a website, but you can find it on campus in the Joann Cole Mitte building.
Living Cool, A Panel Discussion
March 28, 2009, 1-3pm
Blanton Museum curator Annette Carlozzi and Kevin Alter, Associate Dean of UT's School of Architecture, moderate a panel discussion with Austin design experts on how mid-century modernism informs Austin lifestyle today.
Amy M. Mooney: The Social Utility of Portraiture: Practice, Performance & Propriety
Art Building and Museum (ART) 1.120, UT Austin
March 26, 2009, 4pm
Examining literary and visual texts in tandem, Dr. Mooney of Columbia College in Chicago, presents a chapter of her forthcoming book which examines the central role played by portraiture in fostering social mobility in the United States during an era of class, ethnic, and racial tension.
March 13, 2009, 9pm
Admission: $5-9; Free for SXSW Interactive badge holders
The Austin Museum of Digital Art presents its 45th Digital Showcase featuring the 4th Laptop Battle at the Mohawk. Local electronic musicians compete in the 2009 Laptop Battle Championship, which includes interactive installations, live visuals, and innovative art projections.
Birth of the Cool: AVANT CINEMA
Alamo Drafthouse, Downtown
March 25, 2009, 7pm
Admission: $8.50; $6.25 for students
A program of shorts by designer/filmmakers Charles and Ray Eames and a brief retrospective of the modernist title design of Saul Bass.
New Brow, The Film
March 17, 18 & 21
New Brow considers the rise of Pop Surrealism or Outsider Art through interviews with the artists, galleries and collectors who started and continue this American art movement. Screenings March 17, 6pm at The Independent at 501 Studios, March 18, 7pm at Cafe Mundi and March 21, 1pm at The Independent.
Dallas/ Fort Worth
Tuesday Evenings at the Modern: Fahamu Pecou
Modern Art Museum of Fort Worth
March 17, 2009, 7pm
Fahamu Pecou is the Shit began as the artist's own campaign for his work as a painter in 2002 with paintings of Pecou on the cover of art and culture magazines, t-shirts, posters, as the subject of a mockumentary, and guerilla street art. This Tuesday Evenings presentation, Behind the Canvas, takes an intimate look at the personal life of the artist.
Michelle Ellsworth: The Objectification of Things
March 20 & 21, 8pm
In The Objectification of Things, objects experiences sex (in a stop-action animation), torture and death. Sex, astro-turf, carbon biochemistry, a mini green screen sound stage and synchronized back-up dancers are all bedfellows in this multimedia, collaborative event.
Calls for Entries
Austin Film Festival
Deadline: June 3
Submit a film in any of the following categories: Narrative Feature, Narrative Short, Animated Short, Documentary Feature, Documentary Short. There's a $45 entry fee. Winners will be announced at the Austin Film Festival October 22 - 29, 2009.
Post-Academic Institute for Research and Production Fine Art, Design, Theory
Jan van Eyck Academie
Deadline: April 15, 2009
Artists, designers and theoreticians are invited to submit research and production proposals to become a researcher at the Jan van Eyck Academie. Every year, 48 international researchers realise their individual or collective projects in the artistic and critical environment that is the Jan van Eyck. Artists, designers and theoreticians at the Jan van Eyck Academie work alongside each other and establish a cross-disciplinary exchange. Submit independently formulated proposals for research and/or production in the departments of Fine Art, Design and Theory or participate in one of the following research projects: After 1968: What is the political?; Circle for Lacanian ideology Critique; Design Negation; ExtraStateCraft; Imaginary Property; The Cross-Cultural and the Counter-Modern. Visit the Jan van Eyck website for more information.
Sharadin Art Gallery Residency
Kutztown University of Pennsylvania
Deadline: June 12, 2009
Accepting proposals from artists, craftspersons and designers for the production of a temporary, site-specific installation for The Sharadin Gallery exhibition space. The residency will occur January 11-29, 2010, and the artwork will remain on view from January 29 – March 5. The selected artist (or artist team) will be awarded $10,000. The award must cover all material and labor costs associated with the production of the work, all travel expense to and from our site, all incidental costs, meals, and all artist fees and honoraria. The university will provide housing along with a group of Kutztown University students to assist with the physical production of the selected proposal. For more information and to apply visit the Sharadin Gallery website.
Visual Artist Residencies
CORE Program, MFAH
Deadline: April 1, 2009
The Core Program awards one- and two-year residencies to highly motivated, exceptional visual artists who have completed their undergraduate or graduate training but have not yet fully developed a professional career. Visual artists must submit an online application. There is a $10 application fee, which is paid online by credit card. For more information see the online application instructions.
Critical Studies Residency
CORE Program, MFAH
Deadline: April 1, 2009
The Core Program awards one- and two-year residencies to highly motivated, exceptional art scholars who have completed their undergraduate or graduate training but have not yet fully developed a professional career. For more information see the online application instructions.
Assistant Curator of Contemporary Art
Bass Museum of Art, Miami
Open until filled
The Bass Museum seeks an enthusiastic, motivated and experienced Assistant Curator of contemporary art. Working closely with the Executive Director/Chief Curator, the Assistant Curator manages all administrative responsibilities of the department including organizing special exhibitions, installing permanent collection galleries, securing acquisitions, initiating and participating in public programs, writing and coordinating texts and publications; and touring original exhibitions. Requirements: MA in arts-related field; 3-plus years of related curatorial experience including organizing exhibitions of national and international contemporary artists (solo and group exhibitions); traveling exhibitions; a track record of permanent collection acquisitions; strong research, writing, and public speaking skills; and significant contacts in the field. Please submit cover letter and resume to: Elisa Alonso, Executive Assistance, Bass Museum of Art, 2121 Park Avenue, Miami Beach, Fl 33139. No emails or phone calls please. Only those chosen for interviews will be contacted.
Call for Entries
Dougherty Art Center
Deadline: March 31, 2009
The Dougherty Arts Center in Austin is currently accepting exhibition proposals the Julia C. Butridge Gallery space. You can find more information and an application here.
Project and Curatorial Research Grants
Etant donnés: The French-American Fund for Contemporary Art
Deadline: April 15
Project grants are allocated to American nonprofit institutions organizing exhibitions, installations, artist residencies, publications, or other projects involving living French artists and French nonprofit institutions presenting the same types of projects with living American artists. Complete guidelines and application forms.