DANIEL RICH, Downburst - Opening tomorrow, December 11, 6-8 PM at Perry Rubenstein Gallery

For Immediate Release
PERRY RUBENSTEIN GALLERY
527 WEST 23RD STREET
ANNOUNCES

DANIEL RICH
DOWNBURST

December 11 – January 17, 2008
DabOpening Reception Thursday, December 11th, 6:00 - 8:00 PM

New York, November 26, 2008
Perry Rubenstein Gallery is pleased to present Downburst, Daniel Rich's first solo exhibition at the gallery, featuring paintings made over the past year. Rich turns selected images circulating on the Internet, in newspapers and magazines into unique paintings, highlighting the events they depict and the process of their documentation.

The body of work made for Downburst centers on the U.S. invasion of Iraq and the ongoing turmoil in the region of the Middle East. The title of the exhibition refers to a meteorological phenomenon where, unlike in a tornado, strong winds are directed outwards from the point where the downburst hits land or water. Drawing a metaphoric parallel between Rich's practice and this phenomenon, the title denotes that his works are part of a process of uncontrolled, widespread reception of a single event, the effects and visibility of which reach far beyond its origin.

Rich's hyper-realistic paintings often depict buildings and sites that have been destroyed or altered since the source image was taken. Saddam (2007), for instance, shows a monument to Saddam Hussein that was demolished right after the end of his dictatorship. Rich lifted this image from the Internet after reading an article that described the order for U.S. soldiers to destroy the dictator's image whenever they encountered it in public spaces. Rich's recent painting, Obama's Visit to Baghdad (July 22, 2008) (2008), in part points out the political act of U.S politicians visiting war zones and taking helicopter tours. The World, Dubai (2005) (2008), on the other hand, comments on the architectural, seemingly experimental dreamland that Dubai and the United Arab Emirates represent, and attempts to draw attention to the parallel existence of a whole different reality that is not too far away.

The self-imposed task to paint in Rich's particular way is similar to an act of reconstruction, of rebuilding a given image. Once he has selected an image, Rich makes an enlarged print, scaled to the size of the board. Following a rigid process that he has set up and follows for all of his works, he then determines the colors of different areas, and draughts the outline of the painting. Subsequently masking area after area, he methodically adds colors.

Rich usually removes any human presence from the source images and transforms nature and buildings into almost schematic representations. Denying himself any further pictorial intervention or personal comment, he does not make an overt political statement with his works. Instead, he strives to take on a neutral position, setting his conceptual and practical focus on selection and the process of transferring the image from one medium into another. The images Rich chooses to paint are both personal and subjective choices. They mirror his own history of seeing and perceiving events happening in other parts of the world and their mediation through images in the news and popular culture.

Rich provides no answers, just questions. It remains open if whether by highlighting easily accessible mass media images in meticulous unique paintings he reclaims or questions painting as a privileged category of images. However answered, Rich's work acts both as a discourse on mass-produced pictorial sources of information and as a quasi-monument to the events depicted in the source material.


Daniel Rich was born in 1977 in Ulm, Germany. He currently lives and works in Brooklyn, NY. Rich received an MFA from the School of the Museum of Fine Arts, Boston (2004); a BFA from the Atlanta College of Art (2001); and attended the Skowhegan School of Painting and Sculpture (2004). His work has been exhibited in New York at Elizabeth Dee Gallery (2005), at Sunday Gallery (2007), and at Mario Diacono Gallery, Boston (2007), among others.


Concurrently on view at Perry Rubenstein's 534 West 24th Street space is Folded Thoughts, Danish artist Peter Callesen's first solo exhibition in the U.S.


Perry Rubenstein Gallery
527 West 23 Street
534 West 24 Street
526 West 24 Street
New York, NY 10011
T 212-627-8000, F 212-627-6336
E info@perryrubenstein.com
www.perryrubenstein.com
Gallery hours: Tuesday – Saturday, 10:00 AM to 6:00 PM.

Image credit: Daniel Rich, Obama's Visit to Baghdad (July 22, 2008), 2008, Enamel on wood, 30 x 25 inches (76.2 x 63.5 cm)

SOURCE: Perry Rubenstein Gallery

whatiftheworld/gallery: BIG WEDNESDAY - OPENING TONIGHT 18H00

Group Exhibition
10 December 2008 - 17 January 2009
OPENING: Wednesday 10 December 2008 18h00 - 21h00
Including a special opening performance at 19h30 and after party at Albert Hall

“Stay Casual, Barlow!”
- ‘Fly’ ( Robert Englund, Big Wednesday )*

For its final show of 2008, Whatiftheworld / Gallery will present a major group exhibition entitled Big Wednesday,* the first in a series of annual summer group shows. This year’s exhibition is co-curated by Julia Rosa Clark & Daniel Levi, and features a collection of new works by both resident and associated artists from Whatiftheworld.

The gallery’s stable of noteworthy talent includes up-and-coming young painter Andrzej Nowicki (now based in New York), who will be submitting a series of new watercolours and works on paper in his signature style. Matthew Hindley has recently returned from a successful 3-month studio residency in Berlin, and will be showing a selection of new large scale oil paintings. Gifted Michaelis Prize winner Rowan Smith will be submitting two new works, and has just been selected for the exhibition ‘Objects of a Revolution’ at Gallerie Fiat in Paris in January 2009. In collaboration with Brodie/Stevenson in Johannesburg, Athi-Patra Ruga will be exhibiting selected works from his recent solo exhibition …of bugchasers and watussi faghags (and will be presenting a subsequent solo exhibition at Whatiftheworld in August 2009).

Other participating artists include: ABSA L’Atelier Winner James Webb,Zander Blom (who will be featured at Kucke+Kuckei in Berlin - January 2009)and new paintings by Tom Cullberg. Also expect to see selected works by Stuart Bird, Linda Stupart, Liam Lynch, Georgina Gratrix and others.

2008 was a year that saw some significant firsts for Whatiftheworld, including their successful participation in the inaugural Johannesburg Art Fair, a debut London exhibition, the launch of a new publications department, as well as features in a number of international publications (most recently W Magazine). In 2009, the gallery looks to expand its profile and network overseas with 3 international art fairs scheduled, as well as the introduction of several new artists to the programme.

* ‘Big Wednesday’ , 1978 , A Coming of Age film about a group of young surfers poised for success, failure and change in their lives as the world transforms around them.

Whatiftheworld / Gallery
First Floor, 208 Albert Rd.
Woodstock 7925
Cape Town, South Africa
Viewing Hours:
Tues - Fri 10.00 - 16.30 / Sat 10.00 - 15.00
Closed Sunday + Monday
www.whatiftheworld.com

SOURCE: whatiftheworld/gallery

Dior Homme's 900 Butterfly Installation

Dior Homme “Butterfly” Installation By Andrea Mastrovito


“Nine thousand black decoupage replicas serpentine across the ceiling and walls of the white boutique, like Hitchcock’s birds only less menacing, and much prettier.”

Via Wallpaper.

'Return of the Serra'-Missing 38 tonne sculpture is back!

Remind me to never donate or sell my work to this museum...

MADRID. It had to be one of the most embarrassing losses ever suffered by a museum. In 2006 Madrid’s Reina Sofía Contemp­orary Art Museum admitted that it had lost a 38-tonne sculpture—Equal-Paral­lel/ Guernica-Bengasi, 1986—by the American artist Richard Serra. Perhaps most extraordinary was that it had been missing for 14 years without anybody noticing. Now, after an unusual agreement with the artist, the work is back in the museum and is expected to go on show in the early new year.

The sculpture was commissioned by the museum, and was on display for four years until 1990. When the museum decided to revamp its displays it was decided that, for the time being, the Serra piece was too large and it was sent to a private storage facility—Macarron—in Madrid.

In 2004, the museum’s incoming director, Ana Martínez de Aguilar, ordered an inventory of the pieces in the museum’s permanent collection with a view to reordering the displays. In 2005 she decided to include the Serra sculpture, which was when it was discovered that the storage company had gone into receivership in 1998 and the sculpture, consisting of four, 1.5 metre-wide blocks of steel, was nowhere to be found. The last documents relating to payments for storage were dated 1992.

Despite a police investigation, the former owner of the storage facility denied all knowledge of its whereabouts and it seemed that the museum was at a dead end, minus one giant sculpture.

However at the end of 2006 Richard Serra, who had been kept informed of all developments, agreed that an identical copy could be made by the German foundry with which he usually works. Serra would not be paid for the new commission. However, he insisted that it be made clear that “the Ministry of Culture and the Museum were responsible for what has happened”. The Reina Sofía would also be responsible for the fabrication costs of the remade work, around E83,500.

“This is not much if we consider that originally [we] paid E220,000 for the piece,” said Manuel Borja-Villel, current director of the Reina Sofía. “Its market value today would be out of our reach.” If the original sculpture reappears, it will be destroyed.

The remade work was exhibited at last year’s Serra retrospective at the Museum of Modern Art in New York and shipment to Spain has been paid by for by the American institution. The Reina Sofía expects the sculpture to be back on show around the end of December after the artist personally assembles the installation.

SOURCE: TANP

Quasi-Painting: Works by Young, Mid-Atlantic Artists at RSG

Quasi-Painting
Works by Young, Mid-Atlantic Artists

Curated by Cara Ober


Sarah Gamble · Isabel Manalo
Patrick McDonough · Nikki Painter
Alex Roulette · Amy Sherald
Julie Simon · Katherine Tzu-Lan Mann
Sarah Wilmer

December 13th-January 10th

opening reception
December 13th 7pm-9pm

For more information:
Randall Scott Gallery
1326 14th Street NW
Washington, D.C. 20005

202-332-0806
202-332-0807 fax
www.randallscottgallery.com
info@randallscottgallery.com

Hours:
11AM-6PM Wed-Sat

Location
1/2 block south of Rhode Island at 14th Street NW
2nd floor above Thai Tanic Restaurant



SOURCE: RSG

Whats Up At The Whitney: Williams Eggleston's "Democratic Camera

On view November 7, 2008 - January 25, 2009

One of the most influential photographers of the last half-century, William Eggleston has defined the history of color photography. This exhibition is the artist's first retrospective in the United States and includes both his color and black-and-white photographs as well as Stranded in Canton, the artist’s video work from the early 1970s. The exhibition will travel throughout the United States as well as to the Haus der Kunst in Munich following its New York presentation.

Whitney Museum of American Art
945 Madison Avenue at 75th Street
New York, NY 10021
(212) 570-3600

Image Credit: William Eggleston, "Untitled", 1975. Dye transfer print, 16 x 20 in. (40.6 x 50.8 cm). © Eggleston Artistic Trust. Courtesy Cheim & Read Gallery

SOURCE: Whitney Museum of American Art

SOUTHERNIST: HOME IS WHERE THE ART IS ~Sister Louisa

My Yankee sister twice removed to the good ole South, Anne K. has the most amazing site devoted to everything that I am which is Southern. Recently profiled is the anti-artist of artists Grant Henry aka "Sister Louisa." Sister Louisa is similar to my alter ego Pussy Chignola so hopefully one day soon they can collaborate as The 'Emancipation of Two Southern Belles Who Don't Give A Flying Fuck about Commerical Art." Check out the commentary below!

my gallery Sister Louisa's Art Gallery in the Church of The Living Room And Ping Pong Emporium is in my home in a loft in downtown atlanta...i live in a work/live loft spacewhich caters to the art community by offering moderate income housing to artists,as opposed to single mothers raising litters of kids. it is what it is.

i bleed sister Louisa because that's what i do to process my former relationshipto societal institutions such as religion, politics, family, and community.

i love playing with the symbols of what we all are taught to believe, without necessarily attaching myself to any of those beliefs.

i love the south. i love when one's faith is more sophisticated than the believer herself.i love injecting humor into serious, forbidden places.

foremost: i believe that god's love for me IS GREATERthan anything i can do, or say, to fuck that up!to diminish that sense of unconditionality.

i never apologize for my art. it's a balance...

Read the rest of the conversation at SOUTHERNIST

Sotheby's to auction Martin Luther King papers

Singer Harry Belafonte will auction off two handwritten possessions given to him by Martin Luther King Jr., including scribbled notes for a speech never given.



(AP) - An original hand-written outline for Martin Luther King Jr.'s first speech condemning the Vietnam War owned by his friend Harry Belafonte are going on the auction block this week.

Sotheby's will offer the document for sale Thursday along with two others: the scribbled notes for a speech Mr. King planned to deliver in Memphis, Tenn., three days after he was assassinated and a letter of condolence from President Lyndon B. Johnson to Mr. King's widow.

The auction house put the overall presale estimate for the three documents at $750,000 to $1.1 million, with the Vietnam speech valued at $500,000 to $800,000.

Mr. Belafonte, a singer and actor, was an early disciple of Mr. King and served as host during Mr. King's visits to New York dating from the mid-1950s.

SOURCE: Associated Press

Nasher Museum of Art at Duke Presents Bloomsbury Exhibit

------------------------------------------
DUKE UNIVERSITY NEWS
Duke University Office of News & Communications
http://www.dukenews.duke.edu
-------------------------------------------

FOR IMMEDIATE RELEASE: Monday, Dec. 8, 2008

CONTACT: Wendy Hower Livingston
(919) 684-3314 (office)
(919) 247-8223 (cell)
wendy.hower@duke.edu

NASHER MUSEUM OF ART AT DUKE PRESENTS BLOOMSBURY EXHIBIT



DURHAM, N.C. -- A comprehensive exhibition of art made in the British avant-garde community known as the Bloomsbury Group will open Dec. 18 at Duke University’s Nasher Museum of Art before traveling around the country.

“A Room of Their Own: The Bloomsbury Artists in American Collections” is part of a year-long series of events at Duke celebrating the contributions of this group of artists, writers and intellectuals that included Virginia Woolf, E.M. Forster, John Maynard Keynes and Lytton Strachey.

The Bloomsbury exhibition was organized to coincide with the 100-year anniversary of the group’s beginnings. It will examine the American reception of the art produced between 1910 and the 1970s by the Bloomsbury artists and their associates and collaborators, including painters Duncan Grant, Vanessa Bell, Dora Carrington and Roger Fry.

”This exhibition is exciting for those of us who know of Bloomsbury through the writings of Woolf and Forster, or even through popular movies such as ‘The Hours,’ ‘Howards’ End’ and ‘A Room With a View,’” said Kimerly Rorschach, Mary D.B.T. and James H. Semans Director of the Nasher Museum. “The art of Bloomsbury can teach us more about the group that was so brilliant and whose ideas are relevant today. We are excited about this unique opportunity to present this work to audiences in Durham and the Triangle.”

The Nasher exhibition, which runs through April 5, will include 200 paintings, works on paper, decorative arts and book arts borrowed from public and private collections throughout the United States and Canada. It also will focus on how this small group of artists made its imprint on the cultural thinking of their day.

Complementing “A Room of Their Own” is a panel discussion Jan. 29 at the Nasher led by exhibition curator Nancy Green, the Gale and Ira Drukier Curator of Prints, Drawings, and Photographs at the Herbert F. Johnson Museum of Art at Cornell University. Other events include two lectures at the Durham County Library, a Bloomsbury film series, a family day event, teacher workshops and a theater production of the play, “Vita and Virginia.”

The exhibition was inspired by, and draws from, the collection of Craufurd Goodwin, James B. Duke Professor of Economics at Duke, as well as other collections in the United States and Canada. It is organized by the Herbert F. Johnson Museum of Art at Cornell, in Ithaca, N.Y., in conjunction with the Nasher Museum.

To complement the exhibition, Duke has organized a campuswide program, “Vision and Design: A Year of Bloomsbury,” that includes panel discussions, theatrical performances, a film series, an online book chat, a “Duke in Depth” symposium and a related exhibition at Duke Library’s Perkins Gallery. These events all take place between September 2008 and April 2009.

After premiering at the Nasher Museum, the exhibit visits the Herbert F. Johnson Museum of Art at Cornell. It also will travel to the Mary and Leigh Block Museum of Art at Northwestern University in Evanston, Ill.; the Smith College Museum of Art, Northampton, Mass.; the Mills College Art Museum, Oakland, Calif.; and the Palmer Museum of Art, Penn State University, University Park, Pa.

“A Room of Their Own” is funded by a grant from the National Endowment for the Humanities, promoting excellence in the humanities. At the Nasher Museum, the exhibition and related programs are sponsored by the Mary Duke Biddle Foundation, the Provost's Common Fund, Duke’s Graduate Liberal Studies Program, the Wachovia Foundation and the Josiah Charles Trent Memorial Foundation.
_ _ _ _

The Nasher Museum of Art is located at 2001 Campus Drive at Anderson Street on the Duke campus in Durham. The museum is open 10 a.m. to 5 p.m. on Tuesday, Wednesday, Friday and Saturday; 10 a.m. to 9 p.m. on Thursday; and noon to 5 p.m. on Sunday. The museum is closed Mondays. Suggested admission is $5 adults, $4 for seniors and members of the Duke Alumni Association, $3 for non-Duke students with identification and free for children 16 and younger. Admission is free to Duke students, faculty and staff with Duke Cards. Admission is also free to Nasher Museum members and Durham city residents who present a valid identification with proof of residency.

Additional information is available at www.nasher.duke.edu.

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Image credit: Duncan Grant's "At Eleanor: Vanessa Bell" (1915), an oil on canvas

SOURCE: Nasher Museum at Duke University

art basel [miami beach] day 2, 12.05

Sotheby's, Christie's planning layoffs due to lagging economy

(AP) - Sotheby's auction house says the company has approved a restructuring plan resulting in salary reductions and layoffs due to poorer-than-expected earnings.

It is unclear how many people are losing their jobs. Sotheby's says the plan would affect its North American operations, where it employs 605 people.

In a Thursday filing with the Securities and Exchange Commission, the company said the restructuring "will reduce annual salaries and related costs by approximately $7 million, when compared to 2008 levels."

Its rival, Christie's, said Friday it also was reviewing its strategic plan "in light of the current global economic environment and our sale results for this autumn."

Christie's said it expects the reorganization to lead to layoffs.

People this economy is not a game!

SOURCE: Crain's New York Business

Art Quote of the Day....

My instinct about painting says, 'if you don't think about it,
it's right.' As soon as you have to decide and choose, it's
wrong. And the more you decide about, the more wrong it gets.

-Andy Warhol

Sander's Children FIGURATIVE PHOTOGRAPHY in the tradition of August Sander

The exhibition "Sander's Children" looks at the significant and acknowledged influence August Sander has had on many photographers. Most active from 1914 to 1930, Sander's cool, objective style of portraiture anticipated work ranging from Irving Penn's "Small Trades" series to Richard Avedon's outdoor portraits and has continued to influence photographers to this day.

Sander's credo was simple: "I am not concerned with providing commonplace photographs like those made in the finer large-scale studios of the city, but simple, natural portraits that show the subjects in an environment corresponding to their own individuality."

Sander's monumental photographic project "Man of the Twentieth Century" sought to document the people and typologies of his native Westerwald. He photographed people from all walks of life and became best known for the straightforward full length portraits that recorded his subjects not only with great objectivity but also with a subtle artfulness and psychological depth that has made them the definitive template of what a photographic portrait should be.

The exhibition "Sander's Children" presents work by a selection of photographers who without exception can all recall how Sander's images were a formative influence on their style. Yet each photographer in the show has been able to create their own remarkably distinct style within this tradition. Taken over a period of six decades following Sander's active life as a photographer, the images are both a testament to the enduring legacy of Sander's seminal work and the robustness and extraordinary capacity for renewal of the medium.

For information, go to:

Danziger Projects
521 West 26th Street
New York, NY 10001
Telephone 212.629.6778
info@danzigerprojects.com
www.danzigerprojects.com

Hours
Tuesday - Friday, 11-6
Saturday, 12-6
Monday and Tuesday by appointment

SOURCE: Danziger Projects

art basel [miami beach] day 1 (12.04.08)

Odili Donald Odita's "Third Space" closes on 12.06 at The Institute of Contemporary Art, U Penn

Odili Donald Odita's large-scale, abstract wall paintings operate at the intersection of Western modernism and African culture. Borrowing strategies of destabilized perception from Op art—a tradition condemned by formalist criticism—and adding narrative and multicultural inflection, Odita both embraces and critiques the modernist tradition. His vast, animated expanses of fractured, rhythmic planes, equally informed by television test band patterns, African textiles, post-colonial discourse, sensory overload, and digital technology, speak to a contemporary experience of dislocation and decenteredness. This is the 16th commission in ICA's Ramp Project Series.

For the Ramp, Odita will design and execute a dynamic work that responds to the unique architecture of the space.

Born in Nigeria and raised in Ohio, Odili Donald Odita (b. 1966, Enugu, Nigeria; lives Philadelphia and New York) has been developing this body of work for 10 years, at which time he was engaged, along with critic Olu Oguibe and curator Okwui Enwezor, in bringing African and diasporic art practices to critical attention through the publication NKA, Journal of Contemporary African Art.

Odita has had numerous exhibitions around the world, and was included in the 52nd Venice Biennale in 2007. He has had solo exhibitions at the Rose Art Museum, Brandeis University, Jack Shaiman Gallery, New York, the Studio Museum in Harlem, and the Contemporary Arts Center, Cincinnati, Ohio. His work will also be on view this fall at The Michael Stevenson Gallery, Cape Town and this spring at the Center for Contemporary Art in Turin. He is an Associate Professor of Fine Art at Tyler School of Art at Temple University.

SOURCE: ICA

RICHARD D. DEMPSEY's "RECOLLECTIONS: A FORTY YEAR RETROSPECTIVE" reception 12-06-08 at Stella Jones Gallery

I used to do drawings and sketches of scenes, or of people, in preparation for a painting. But later I trained myself to take a good look and remember enough details. I'm not too interested in literally transferring the scene to canvas--it's more a representational interpretation by me..."

--Richard W. Dempsey

One of the best kept secrets of art history, Dempsey was born in Ogden, Utah, September 14, 1909. His youth was spent in Oakland, California where he attended Sacramento Junior College (1929-31) as an art major and then studied at the following institutions: The California School of Arts and Crafts (1932-34) in Oakland, California; the Students Art Center (1935-40). He held his first one-man exhibition in Oakland, 1935, then headed for San Francisco where he held three exhibitions. In 1941, he moved to Washington, D.C. to work as an engineering draftsman with the Federal Power Commission.

Dempsey also studied at Howard University in Washington, D.C. He studied sculpture with Sargent Johnson, painting with Maurice Logan, Raymond Strong, Katherine Gans, Edward Leslie, Sidney Lemos and lithography with James Wells. He also worked as an engineering draftsman for the US government. In 1946, along with Elizabeth Catlett, he was awarded a Julius Rosenwald Fellowship for a series of paintings of outstanding American Negroes. In 1951, he was awarded a Purchase Award in the Corcoran Gallery's Tenth Annual Exhibition.

Dempsey was a prolific painter and worked on as many as six canvases at one time, switching as his moods changed. His paintings were highly influenced by colors in his Caribbean environment, using them to express feelings of emotions and dimension. His sensitivity to colors was heightened by frequent trips to Jamaica and Haiti. With Dempsey, color, texture, and form unite in his later abstract paintings to compose symphonic poems for the eye of the beholder.

This event is the second in a series of three receptions that will take place; last month the event took place on November 1, 2008 and this one occurs on December 6, 2008. For more information or to view the online catalog, contact:

Stella Jones Gallery
201 St. Charles Avenue
New Orleans, LA 70170
504.568.9050
email: jones6941@aol.com

www.stellajonesgallery.com


Image Credit: Richard Dempsey, Ccircus in Bogota, SA, oil on masonite, 12.4 x 24 in. / 31.5 x 61 cm, 1950 - 1959

SOURCE: Stella Jones Gallery

Random Pics: Voodoo Music Festival 2008, New Orleans, LA

I am sure this was even more magnificent in person. This is how you pimp your ride!

re-title.com artists opportunities

CURATOR
City Without Walls (cWOW), NJ and The Hudson County Office of Cultural & Heritage Affairs seek a curator
Deadline : WEDNESDAY DECEMBER 10, 2008
City Without Walls (cWOW) and The Hudson County Office of Cultural & Heritage Affairs seek a curator for a Black History Month Exhibition at the Brennan Courthouse in Jersey City during February 2009. The space can accommodate up to 20 large 2D works (less than 50 lbs ea) as well as 3D work that is light enough to be moved for public events. Curators can include their own artwork, and are responsible for installing and deinstalling the show.
Read On


POSITION
Lecturer in Photography, Ipswich, University Campus Suffolk, UK
Closing date : 3 December 2008, 5pm
Salary range: £31,514 - £36,553 per annum - To play an active role in providing an excellent, exciting and contemporary learning, teaching and assessment environment for both full-time and part-time students and to engage in scholarly activity to support student learning. In addition, the post holder will support the wider work and administration of the School/Faculty.
Read On


PUBLICATION
4th Annual INTERNATIONAL DRAWING ANNUAL, Manifest Creative Research Gallery and Drawing Center, Cincinnati, Ohio
Deadline December 31st, 2008
A Competitive Annual Publication of Works of Contemporary Drawing and Writing About Drawing. The International Drawing Annual is an extension of Manifest's Drawing Center activities. Its goal is to support the recognition, documentation, and publication of excellent, current, and relevant works of drawing from around the world. A natural question will be "what is drawing?" and that is exactly the question the Annual is meant to investigate from year to year. Furthermore the goal is to ask "what is exceptional drawing?"
Read On




PRIZE
DOROTHEA LANGE-PAUL TAYLOR PRIZE
Deadline: January 31, 2009
The year 2009 marks the nineteenth anniversary of the Dorothea Lange-Paul Taylor documentary prize, a $20,000 award given annually by the Center for Documentary Studies. The Lange-Taylor Prize is offered to a writer and a photographer in the early stages of a documentary project. By encouraging such collaborative efforts, the Center for Documentary Studies supports the documentary process in which writers and photographers work together to record the human story.
Read On


PROPOSAL
Artists' Proposals for 2010 Season - Eastern State Penitentiary Art Installation, Philadelphia, PA
Deadline : June 16, 2009, 5:00 pm
Eastern State Penitentiary Historic Site seeks proposals for its 2010 tour season and beyond. There are two funding categories : Exhibition Approval providing a budget of up to $7,500 and approval to exhibit at the historic site; and Exhibition Development, providing up to $2,500 with no guarantee of exhibition.
Read On


RESIDENCY
PALAZZO RINALDI, Basilicata, Italy
2009 Summer Residencies Now Booking
PALAZZO RINALDI, a historical property dating back to 1822, provides its Resident Artists with a unique and inspiring retreat in the heart of the Basilicata region of southern Italy and away from the stresses of urban living. The Palazzo is ideally located in the charming hilltop village of Noèpoli, within the confines of the Pollino National Park, a naturally tranquil and restorative haven.
Read On


The TELUS Interactive Art & Entertainment Program (IAEP), Post-graduate Residency, Canadian Film Centre
Deadline: December 19, 2008
Accelerate your future and surround yourself with new ways of thinking. There is no limit to what you can create at CFC Media Lab. In just five months, you will learn from some of the best in the interactive business. You will share new ways of thinking with ambitious and like-minded people from a wide variety of backgrounds. It's a collaborative process that allows you to come up with new and exciting ideas for the real world.
Read On


Production Residency 2008 - ArtSway, UK
Deadline : 3 March 2008
ArtSway is pleased to offer a new two-month Production Residency that is scheduled for May/June 2008, with a following presentation/exhibition at ArtSway scheduled for 20 September - 16 November 2008. The successful artist selected for the residency will receive a fee of £4200, plus additional funds towards production costs, travel and marketing
Read On


ELSEWHERE ARTIST COLLABORATIVE 2009 residencies, Greensboro, NC
Elsewhere, an arts production site and experimental museum in downtown Greensboro, NC, is seeking artists,curators, writers, musicians, and cultural producers for residencies during its Spring, Summer, and Fall 2009 seasons. Set within a former thrift store housing a 58-year collection of American surplus, thrift, and antiques, Elsewhere invites experimental creators to utilize the immense collection of objects to pursue site-specific material, conceptual, and/or technologically-based projects.
Read On


STUDIO
24 studios available in a unique New Cross building, South London
temporarycontemporary presents a 1912 Police station with period features, inc studios with bay windows, parquet floors (interview room, sector office etc), all decent height. It's a great building; there's a large yard with lorry access for on-site parking, working outside, events, and a venue for hire, the Police Gym and Prison Cells, which can be used for exhibition, photo shoots, music and rehearsals.
Read On


Artist Studio Spaces in Vyner Street, E2, London - £90/wk
Art studios available for rent in Vyner Street in 2009. You will have the option of having an open studio to the art traffic public of Vyner Street, and exhibiting your work.
Read On

For more information, go to re-title.com.

Photo credit: mangus miller, berlin

The ART of Scarification

Scarification, a more intense form of tattooing, has been around for centuries and is still in usage in indigenous society as ritualistic branding. Most find it gruesome; I find it beautiful. Instead of using a cloth canvas they chose to turn their body into walking canvases; its not different from any other form of self-expression. View the video below and see the beauty in such a brutal act.

The Art of the ALBUM COVER: kanye west's" 808s and Heartbreaks"

Designed by kaws it portrays simplicity, minimalism and subtlety. This has to the be the single most important album cover of our time from such a flamboyant artist. it speaks volumes without even attempting.