Call for Participation. Book project. Deadline: 30.09.2019

This is a call by Aldobranti, an artist whose work centres on a conceptual photography often approached through performance.

He looks for other contributors to his book project, ‘Critical Moss, making Art Work outside the Metropolitan Bubble’:

The title of this project * is a play on words, artists may be like stones, rolling to places beyond their original intention, far from the critical buzz afforded by art school crits, first nights, gallery visits and rapid transit systems. The research will seek to identify methodologies  for artists in isolated settings to ‘kickstart’ their practice — absent a critical mass of fellow artists.

It seems obvious that Art exists in a setting of dialogue. In its viewing, its reception the dialogue exists between the viewer and the artwork and in most cases is beyond the control of its creator. In its inception however, there is a wider conversation between the Artist , the artwork and the context in which the Artist finds herself. This wider conversation may be a rehearsal for a later reception dialogue, to make the artwork fit for purpose, working on the question ‘what is the artist trying to say‘ through the artwork as mouthpiece

This question may not have an easy answer during a great part of the preparation. A figurative work can perhaps be judged in the extent to which it evokes the subject matter. An abstract artwork may be self justified by its adherence to a formal working method but overall a significant factor in addressing the above question is a discussion formed as words and not mark making. No longer representing things, rather making work about ideas must surely necessitate realising some [small] part of the idea as words.

Thus I am arguing that the context, mentioned above is found as words, interior or exterior to the artist. Art is not made in a Silence. Outside of a metropolitan ‘bubble’ access to a critical context may not be freely available and the purpose of my research is to understand fellow artists’ response to this shortfall both in their words and in executed artwork. In particular I should like to reach out to and include practitioners for whom a material art object may not be the objective.

To thank you for your assistance I shall make a casebound, hardback book of your contributions. The book will feature 20 (approx. ) artists with images and facing text. Each selected participant will receive a free copy and further copies will be made available at cost. The book will have an ISBN, deposited at the British Library and the Legal Deposit Libraries.

Initially, complete the form below, including  an image and an account (200 words) to reflect your work and working method  with a URL for other relevant work. You must confirm that you own copyright in the image and text. With your permission, it could be helpful if I or a fellow researcher might conduct a short telephone interview if we intend to print your contribution.

Please also say how you found this call.

On progress the selected image must be available in hi-res (2500 x 2500 pixels) — the artist will at all times retain control of copyright both of image and text. The text of the book will be published in English, if not your first language the editor may be able to help with language issues.

https://zfrmz.com/SXDSIQZzQ72vKF6s4D9F

Any Questions or Problems with this form please email on the address below
Deadline 30/09/2019

Keywords : art, book, isolation, participation, publication

Email : aldobranti@gmail.com  .

* English Proverb “A rolling stone gathers no moss” — decisive action must be taken to avoid stagnation

CV

An regularly updated list of events and exhibitions can be found at https://aldobranti.org/#!info/bio.php

Accessibility Workshop in Madrid, 13.6.2019, Lázaro Galdiano Museum.

Museum For All Blog

The project ARCHES will organize a series of workshops with the objective to reach museum professionals in Europe and around the world. The first Workshop will take place in Spain on 13.6.2019, Lázaro Galdiano Museum, Madrid

Germany: fall of 2019, Bundeskunsthalle, Bonn

France, fall of 2019: Musée d’arts de Nantes

Italy, fall of 2019: TBC

Croatia and Slovenia, fall of 2019: TBC

These workshops will be accompanied by a 80 page handbook, published in three languages (German, English and Spanish) which will be both printed and distributed as a PDF and plain text through the ARCHES website.

First workshop: Towards a Participatory Museum: Inclusive Activities in Cultural Institutions

Workshop for Spanish and Iberoamerican museum professionals

13.6.2019, Lázaro Galdiano Museum, Madrid

Introduction

This workshop is the first in a series of events to disseminate the results of a three-year research within the framework of the ARCHES project.
The visit to the museum…

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“We, Women” for women, transgender, and non-binary photographers in the US. Deadline: June 30, 2019

LARGEST SOCIAL IMPACT PHOTOGRAPHY PROJECT BY WOMXN IN THE U.S. LAUNCHES TODAY WITH AN OPEN CALL FOR ARTISTS
United Photo Industries and Women Photograph are proud to announce We, Women, a nationwide platform to support women, transgender, and non-binary photographers who combine images and grassroots strategies to create empathy and social impact on critical issues across the United States, D.C., and Puerto Rico.
The United States is more divided than ever, and we’re currently witnessing the highest level of civic engagement in generations. We, Women projects will fuel the movement by re-framing issues and highlighting underrepresented narratives that resist and interrogate social and political landscapes while promoting empathy and unity.
We, Women launches today with an Open Call for Artists. The first phase of this developing project will feature up to 20 projects launching in 2020.
Each artist will receive:

A cash grant of $5,000-$10,000 for the continuation of existing work or the creation of a new project in a community they have a demonstrated commitment to

Mentorship and production support from We, Women leaders, project partners, and advisors

Promotion and marketing

We, Women exhibition at Photoville Fall 2020 in New York City

Inclusion in a traveling nationwide exhibition with / concurrent programming beginning Fall 2020
We, Women believes photographs are only the beginning of a creative and socially-minded process. We support work rooted in collaboration, blurring the lines between author, photographed community, and audience. We support a range of artistic and documentary approaches including photography, video, interactive technology, and the use of historical archives.
LEARN MORE


The first We, Women projects have been selected and we are excited to be working with an incredible group of artists:
Sol Aramendi 
Annie Flanagan + Ashley Teamer 
Tonika Johnson 
Kameelah Janan Rasheed 
Karen Miranda Rivadeneira

We, Women is not just a grant.
It’s an opportunity to shape a national conversation about how to find common ground on divisive issues through photography and community engagement.
We are building the second group, up to 15 projects, through a call for proposals launching on May 20th and closing on June 30th.
APPLY NOW

We, Women is a project of United Photo Industries and Women Photograph.

We, Women was co-created by Amy Yenkin, Daniella Zalcman, Danielle Villasana, Emily Schiffer, Laura Roumanos, and Rina Malonzo.
We, Women advisory committee includes Debbie Almontaser (CEO & Founder, Bridging Cultures Group Inc.); Kristina Newman-Scott (President, BRIC); Julian Brave Noisecat (Journalist & Director of Green New Deal Strategy, Data for Progress); Susan Meiselas (President, Magnum Foundation); Veronica Sanchis Bencomo (Photographer & Founder, Foto Féminas); Jovan C. Speller (Program Director, Metro Regional Arts Council; Independent Artist & Curator); Eric Gottesman (Artist, For Freedoms); Quito Ziegler (Professor, School of Visual Arts), Gerlie Collado (Program Director of Community Engagement at The Music Center & Board Member of Visual Communications) and Dee Davis (President, Center for Rural Strategies)
Lead funding for We, Women provided by Open Society Foundations.
Institutional Collaborators for We, Women are Magnum Foundation, For Freedoms and Kickstarter
Community Collaborators for We, Women are Diversify Photo, MFON: Women Photographers of the African Diaspora, The Everyday Projects, Authority Collective and Natives Photograph.
We, Women prioritizes artists of color and supports individuals from all spectrums of identity, including but not limited to religion, sexual orientation, age, ability, and socio-economic status. By creating projects that unite and engage communities across the United States, our artists will show how issues are interconnected and how we are all affected by them. Through this radical transformation of image-making—with the goal of contributing to lasting change—We, Women believes we can revolutionize how we see our world and ultimately, ourselves.
For more information or press inquiries, contact: hello@wewomenphoto.com

AFTER POST-PHOTOGRAPHY 5 Conference, 23-25 May 2019, St. Petersburg

Conference APP. Cultural, historical and visual studies in photography

23-25 May 2019,
European University in St Petersburg

Addressing one of the most common concepts that define the nature and function of photography, the fifth edition of the conference After Post-Photography  aims to re-think the fundamental notions and offer new perspectives on the subject of photography and its connection with memory.

Memory is a notion commonly brought forward when speaking about photography. The very idea of close connection between memory and photography has long found itself at the basis of the (re)construction of histories and identities.

The photographic image, when regarded as a material evocation of memories, is supposed to not only preserve the past, but to represent a selection of moments worthy of being captured and retained. In this sense, photography has caused fundamental changes to mental structures, such as remembrance and forgetting. Its mechanics, however, is still indecisive: is photography something that evokes memory – or something that enhances oblivion? Furthermore, is a photograph something that really speaks of a moment of the past, or does it rather testify of certain modes of cultural optics? Is there still a possibility to ‘remember’ with, or through photographs? After all, the traditional belief in photography’s truthfulness, its indexical function, the freezing of a decisive moment, or proof of “what has been”, all this stands in strong contrast with the contemporary discussions on fake news, artificially constructed memories, post-reality politics and “augmented” realities.

The conference is chaired by Maria Gourieva, Olga Davydova, Natalia Mazur, Moritz Neumüller, Daria Panaiotti, and Friedrich Tietjen. It is organized in collaboration with the conference “PHOTOGRAPHY AS ART. Current trends in study and the history of national schools”, at the Russian Academy of Arts, Moscow, May 27-29, 2019.

This three-day event will feature four keynote speeches, eight presentations, and a round table, by scholars from Russia, Europe, the United States and Japan.   

Day 1 will feature two evening lectures, one by Fred Ritchin on The Post-Photographic Challenge, the other by Helen Petrovsky on Photography: Memory Formulae.

Day 2 will start with a morning panel dedicated to Photograph Politics, or: How to Show (and how to not). The afternoon will feature the panel Present Photography, or: How to Rethink Pictures. A get-together dinner will be the perfect setting to keep the discussions going on into the later hours.

Day 3 will be dedicated to the panel Photographic Projections, or: How to Show What Never Happened, and a round table discussion on Photography Studies in Russia, before we wrap up the conference in a general Q&A session.

All talks will take place at the European University in St. Petersburg, 1 Shpalernaya street / metro Chernyshevskaya

Talks and presentations will be held both in English and Russian. Simultaneous translation will be provided.  

Timetable

23 May 2019

16.30 Registration for speakers

17.00 Keynote: Fred Ritchin (ICP, USA): The Post-Photographic Challenge

18.30 Keynote: Helen Petrovsky (Russ. Acad. of Sciences, Russia): Photography: Memory Formulae

24 May 2019

10.15 Registration for speakers

10.45 Welcome

Panel 1: Photograph Politics, or: How to Show (and how to not).

11.00 Carole Naggar France/USA): A Closet, a Suitcase and a Warehouse: David «Chim» Seymour’s Archives

11.30 Susumu Shimonishi (Tokyo University of the Arts): Japanese Photography Magazines. The Case of CAMERA MAINICHI

12.00 Coffee break

12.30 Denis Skopin (St. Petersburg State Univ.): Elimination of the Enemies of the People from Group Photographs in Stalin’s Russia: Political and Psychological Aspects

13.00 Discussion

13.30 Lunch break

Panel 2: Present Photography, or: How to Rethink Pictures

14.30 Irina Chmyreva (Research Centre for Theory and History of Arts, Russian Academy of Fine Arts): Echo of Political Realities in Photography: Studies of Reading National History in Art Photography Projects from 1990-2010s

15.00 Michelle Bogre (Parsons School of Design, USA): The Photograph Unmoored: Truth and Authenticity in the 21st Century

15.30 Alexander Streitberger (Univ. catholique Louvain, Belgium): The Photographic Ruins of the Future

16.00 Discussion

16:30 Coffee break

17.00 Keynote: Andrés Mario Zervigón (Rutgers University, USA): The Camera Lens: Fully Visible and Transparent

18.30 Keynote: Gil Pasternak (Photographic History Research Centre, De Montfort University, UK): Photography in Politics: Remembering and Being Together, With Photographs

25 May 2019

Panel 3: Photographic Projections, or: How to Show What Never Happened

10.30 Oksana Sarkisova (Central European University, Hungary): Imagining Soviet Space: Representations of Travel in Vernacular Photographic Collections

11.00 Maria Gourieva (European University/St. Petersburg State University), Friedrich Tietjen (Germany/Austria): Everybody Lives the Same (in private photographs)

11.30 Discussion

12.00 Coffee break

12.30 Keynote: Galina Orlova (Higher School of Economics, Russia): Anonymous Archive, Digitalization, Recycling

14.00 Lunch break

15.00 Roundtable discussion for educators and researchers: Photography Studies in Russia: Challenges and Perspectives

17.00 Final remarks and outlook

 

The Conference takes place at the European University, 1 Shpalernaya street, St. Petersburg. Nearest metro station: Chernyshevskaya.

Any changes to this timetable will be announced on the website www.after-post.photography and the telegram channel afterpostphotographytelegram.   

 

PhotoTWENS 2019 Call. Deadline: May 26, 2019

Following the ever-increasing success of the previous editions, UNEXPOSED, the platform for photography, with the support of the city of Leuven, will be hosting the seventh edition of the PhotoTWENS photography exhibition at the Romaanse Poort Cultural Centre from 5 September up to and including 22 September 2019.

For the edition PhotoTWENS 2019 we are looking for photographic work by photographers from the age of 20 and under the age of 30 years. More specifically, we are interested in coherent series of between 3 and 5 photographs on a theme of your choice.

If you would like to take part in this selection process, kindly send your digital portfolio to info@unexposed.eu by 26 May 2019 at the latest.

An independent jury will make a selection from the photo series submitted.

For your convenience, you can find the conditions for participation, including the application form which must be completed in full in the following document.

NextGen 6.0 Call. Deadline: May 10, 2019

NextGen 6.0 is calling all DMV aspiring artists. 
VisArts welcomes artists ages 17 – 27 in the DC, Maryland, and Virginia area to submit their application for NextGen 6.0, our sixth exhibition in our Kaplan Gallery from June 12 – July 21, 2019. NextGen 6.0 is an opportunity for aspiring artists with little to no experience exhibiting their work in a professional gallery.
VisArts is a non-profit organization whose mission is to transform individuals and communities through the visual arts. VisArts provides children, teens and adults with opportunities to express their creativity and enhance their awareness of the arts.

Online applications are due by May 10, 2019, 11:59 pm at visartscenter.org/call-for-entries. Please keep in mind that submission does not guarantee acceptance. Applicants should have little or no experience exhibiting in a professional gallery. Previous NextGen participants are ineligible. Previous NextGen applicants who were not selected may re-apply for this year’s exhibition.

After reviewing all works, selected artists will be notified by May 17.
All submissions will be juried by professional artists and curators (names to be announced).
Keep in mind that if accepted into the exhibition, you will be expected to drop off accepted artwork to the gallery on Tuesday, May 28, anytime between 10AM- 6PM.  Artwork will not be accepted before or after these available dates and times. 
Application Deadline: Friday, May 10, 2019, 11:59 PM

This year the jurors are:

Kayleigh Bryant-Greenwell- Head of Public Programs, Smithsonian American Art Museum and Renwick Gallery

Lou Joseph-Visual Arts Specialist at the Baltimore Office for Promotion & The Arts, and  the director of the Institute of Contemporary Art, Baltimore

Website Link: https://visarts.submittable.com/submit/130867/nextgen-6-0

CFP (Media-N): Art & Labor in the Amazon Economy. Deadline: May 1, 2019

Subject: CFP: Special issue of Media-N: Art & Labor in the Amazon Economy

Deadline: May 1, 2019

Media-N: Journal of the New Media Caucus

Special Thematic Issue: “Humans Are Underrated: Art & Labor in the Amazon Economy”

Media-N, Journal of the New Media Caucus, invites submissions for a special themed issue on the changing status of art and labor in the digital age. The issue borrows its title from a best-selling managerial tract, Humans are Underrated: What High Achievers Know That Brilliant Machines Never Will, which instructs companies on how to prioritize and reward undervalued forms of human labor as an effective business strategy in an age of increasing automation. Such “underrated” labor forms include storytelling, improvisation, spontaneity, critical and aesthetic judgment, creativity, empathy, authenticity, sincerity, attention, intimacy, care, cheer, and humor. Often referred to as “soft skills,” these “human” capacities are also (and not coincidentally) typically associated with artistic production. By engaging in these activities and behaviors, human workers generate forms of surplus value more effectively and convincingly than their machine counterparts—at least, for the time being. But inasmuch as the notion that “humans are underrated” responds to the substitution of human workers by computerized systems, the underlying question of what will constitute exclusively “human” labor in an increasingly automated future remains in flux.

Spearheading this transformation in the meaning and value of work are major tech corporations like Amazon, which currently ranks second to Walmart as the largest U.S.-based corporate employer in the world. Amazon’s worker base extends beyond its warehouses and corporate offices, and includes employees of subsidiary companies like Whole Foods, the thousands recruited to run its new HQ2 (locations now TBD), and legions more part-time workers who perform deliveries for services like Prime Now. Even more dispersed, and much less visible, are those employed via Amazon’s global microlabor platform Mechanical Turk, described as “an on-demand, scalable, human workforce to complete jobs that humans can do better than computers.” Essentially, mTurk is a marketplace that enables anyone to become a “requester” in order to advertise “Human Intelligence Tasks” (HITs), typically simple assignments like filling out surveys, analyzing receipts, performing online research, transcribing audio or writing captions. The vast majority of these micro-tasks take less than a minute to complete and pay around five to ten cents. While most HITs are used for the purposes of marketing and industry research, in the aggregate, these tasks contribute to the longer-term goal of improving algorithms so that computers can be “trained” to behave more like human beings.

Much criticism has been leveled against Amazon’s workplace culture, from the unsafe conditions, long shifts, and low wages at its warehouses, to the notoriously cutthroat culture of its corporate offices. However, the labor performed by its global workforce of mTurkers remains largely invisible and behind-the-scenes. As a result, the impact of companies like Amazon on the future of human labor, not just in the U.S. but world-wide, has yet to be fully grasped.

This special issue of Media-N seeks submissions that examine the role of art, and specifically new media art, in addressing the ongoing transformation of human labor in an economy dominated by corporate tech behemoths like Amazon, and by extension, how this transformation impacts the meaning and significance of artistic labor. We seek contributions from scholars, critics, artists, designers, scientists, media-makers, and interdisciplinary researchers from across the humanities and sciences who are interested in the relation between digital media and human labor. Individual and collaborative submissions are welcome.

Media-N, Journal of the New Media Caucus (ISSN: 1942-017X) is a scholarly, invitational, and double blind peer-reviewed journal. The journal provides a forum for scholarly research, artworks and projects, and is open to submissions in the form of papers, reports, and reviews of exhibitions and books on new media art. Media-N is an English language journal, and all submissions must be received in English adhering to the standards set by the 16th edition of the Chicago Manual of Style.

TIMELINE:
May 1, 2019: Deadline for submission of abstracts.
May 15, 2019: Notification of accepted proposals and invitation to submit paper.
July 30, 2019: Projected deadline for submission of final papers.

ABSTRACT GUIDELINES:
Please send your proposal by email with the following information combined into a single document:
-Proposal Title, and a 300-500 word abstract, plus 1-2 images if desired.
-Please include your name, email, and title/affiliation on abstract.
-A condensed CV (no longer than 3 pages).
NOTE: Materials should be submitted in English, as a Word document or PDF.
File should not exceed 5MB.

SEND SUBMISSIONS TO:
Johanna Gosse, Executive Editor: johannagosse@gmail.com
Carrie Ida Edinger, Managing Editor: edingercarrie10@gmail.com

Reference / Quellennachweis:
CFP: Special issue of Media-N: Art & Labor in the Amazon Economy. In: ArtHist.net, Apr 9, 2019. <https://arthist.net/archive/20580>.

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