2017 Application Workshop

Transcription

1 2017 Application Workshop

2 Midwest Artist Project Services Co-Founders: Brigid Flynn & Liz Deichmann Providing artist consultations, professional development education, and fiscal sponsorship for artist projects since One-on-one consultations on project organization and management, marketing, fundraising, evaluation and application reviews! Schedule your consultation by ing or

3 Fiscal Sponsorship Program: Allows individual artist projects to receive grants and tax-deductible donations, and provides bookkeeping and project management assistance Applications Open: April 3 May 30 Apply online at midwestarts.org Upcoming Fiscal Sponsorship Workshops: Saturday, April 29, at 10:00am, Blank Space, 2847 Cherokee Wednesday, May 24 at 7:00pm, UrbArts, 2600 N 14th

4 Professional Services Internship Summer 2017 MAPS is offering a temporary paid internship to assist with developing a new resource for artists in St. Louis. This position will be responsible for the research and creation of an online tool to connect independent artists and sponsored projects with professional service providers in the St. Louis area. Learn more at midwestarts.org/internships

5 What We ll Cover Today: Purpose of Program Applicant Qualifications Review Process: What happens after you hit Send Selection Criteria: What are panelists looking for? Thinking about? Application Components & Work Samples

6 Purpose of GRB Exhibition & Award Great Rivers Biennial is a collaborative exhibition program presented by CAM and Gateway Foundation. This initiative identifies talented emerging and mid-career artists working in the greater St. Louis metro area, provides them with financial assistance, and elevates their profile across the Midwest and national arts communities. Winners will receive a grant of $20,000 and will be featured in the Great Rivers Biennial 2018 exhibition at CAM

7 The Contemporary Art Museum of St. Louis brings in outside curators to select just three emerging or mid-career resident artists who have sent in applications and images of their work, and those who are picked each are permitted to fill onethird of the museum with their work. Each artist also receives an award of $20,000, supplied by the locally-based Gateway Foundation. The aim of this exhibition series is to celebrate and commemorate artists in St. Louis.Not long after Juan William Chavez was included in the 2008 CAM biennial, he was selected to be part of an international group exhibition at the Van Abbemuseum in the Netherlands, and in 2012 he was a recipient of a Guggenheim fellowship. The CAM biennial has had a huge impact on my career and life, Chavez, who continues to live in St. Louis, said.

8 Application Timeline Application deadline April 28, 2017, midnight Ten semi-finalists chosen June 9, 2017 Studio visits June 19 20, 2017 Winners announced June 30, 2017 Exhibition on view May 11 August 19, 2018

9 Eligibility Categories: Residency: Drawing, film and video, installation, mixed media, painting, photography, printmaking, sculpture Applicant must currently reside in the metro area, including St. Louis City and the counties of St. Louis, Jefferson, and St. Charles in Missouri or St. Clair and Madison in Illinois. Artist must have lived in the St. Louis metro area (six counties) for at least one year prior to the application deadline (April 28, 2017). Artist must continue to reside in the St. Louis metro area during the designated planning, production, and exhibition period (March 2017 August 2018). Past Awardees: Artist may not have previously received a Great Rivers Biennial award. Students: Artist may be a degree-seeking graduate student. All other students are ineligible. Studio Visit: Artist must be available for studio visits with the jurors June 19 20, 2017, 9:00 am 7:00 pm. Alternative spaces may be arranged if artist does not have a studio. The jurors will choose ten semi-finalists who will receive these visits. Visits must be in-person, not by phone or video.

10 Review Process After the April 28 deadline has passed, applications are reviewed for eligibility and completeness. Incomplete applications will not be judged. Between applications anticipated. Jurors will review work samples and exhibition proposals. CAM staff is NOT a part of this process. Work samples and application materials are reviewed and rated electronically. Jurors will select ten semi-finalists for studio visits. Jurors convene again following studio visits to select winners. CAM staff works closely with artists to develop exhibition plans.

11 2016 Great Rivers Biennial Winners Lyndon Barrois Jr. Through a multi-disciplinary practice including installation, painting, and sculpture, Lyndon Barrois Jr. examines questions of aesthetic value, race and representation, and the creation of meaning through imagery in popular culture. Of Color situates eight life-size assemblages composed of cropped images of athletes, fashion models, and domestic objects culled from magazines on an asphalt basketball court. By repositioning this outdoor setting within the protected space of the Museum, the artist asks viewers to consider how people, cultures, and lifestyles typically sited on the periphery can gain visibility in a new context.

12 2016 Great Rivers Biennial Winners Nanette Boileau Nanette Boileau bases her practice on the vast territory of the Louisiana Purchase, creating nuanced portraits of the contemporary American West through writing, painting, and video. Dakota Territory, a three-channel video installation, was filmed over the course of several months and consists of a series of scenes or field notes examining the quotidian life of ranchers in southeastern Wyoming and the Black Hills of South Dakota. Boileau s footage observes a herd of American bison, from grazing in Custer State Park to their annual roundup and auction. Dakota Territory also records the activities of a fifthgeneration family caring for their herd of Black Angus cattle cows being sorted and loaded, the herd moving across the landscape. Wind whistling, cattle mooing, and crowds cheering echo throughout the space, transforming the cinematic black box of the gallery into an expansive pastoral panorama.

13 2016 Great Rivers Biennial Winners Tate Foley Tate Foley s work revolves around printing and bookmaking, often examining connections between language and social issues. Part of the 2016 Great Rivers Biennial, Post No Bills, an installation of largescale sculptures and twelve single-channel videos, reframes the language of protest. Foley s freestanding structures are architectural, geometric, and assembled with an attention to detail that defies their seemingly make-shift construction. Created with a Risograph a digital printing technology that came to the fore in the 1980s prints of phonetically spelled words are wheat pasted to the structures facades. Such terms as bourgeoisie, systematic, and explicit envelop the sculptures, which formally recall bulletin boards. Often used by the media to discuss issues of gender, ethnicity, and class, these terms hint at the possibility of antagonism and exclusion.

14 Jurors Martin Kersels Kersels objects and projects have been exhibited at museums both nationally and internationally, including the 1997 and 2010 Whitney Biennials, Pompidou Center, MOCA Los Angeles, Tinguely Museum, Kunsthalle Bern, MAMCO in Geneva, and the Getty Museum in Los Angeles. His work is represented by the galleries Mitchell-Innes & Nash in New York, Redling Fine Art in Los Angeles, and Galerie Georges-Philippe & Nathalie Vallois in Paris. Kersels is Director of Graduate Studies at the Yale School of Art. Lauren Haynes Curator of Contemporary Art at Crystal Bridges Museum of American Art in Bentonville, Arkansas. Prior to joining Crystal Bridges, Haynes spent nearly a decade at the Studio Museum in Harlem, where most recently she was the Associate Curator for the permanent collection. As a specialist in African-American modern and contemporary art, Haynes curated dozens of exhibitions at the Studio Museum and contemporary art institutions in New York. Christine Y. Kim Associate Curator of Contemporary Art at the Los Angeles County Museum of Art. Prior to her position at LACMA she was Associate Curator at the Studio Museum in Harlem in New York. At LACMA, Kim co-organized Human Nature: Contemporary Art from the Permanent Collection (2011), with Franklin Sirmans; James Turrell: A Retrospective ( ) with LACMA s director Michael Govan; Diana Thater: The Sympathetic Imagination ( ) with Lynne Cooke; and My Barbarian: Double Agency (2015) with Rita Gonzalez.

15 Selection Criteria: What Are They Looking For? Clear sense of vision; an artistic signature Work that is engaged in a larger art world conversation; work that shows an awareness of what is happening in contemporary art on a global scale Work that shows an intellectual approach; that is thoughtful; work that has a conceptual root; that has a contextual meaning Overall Professionalism of Application High quality, thoughtfully curated work samples Clear, concise, and intentional writing in artist statement and exhibition proposal Exhibition proposal that is specific to CAM and the GRB

16 Application Components Artist Statement Describe your artistic practice in 500 words. Proposal Submit an exhibition proposal that outlines what you intend to create and exhibit in the 2016 Great Rivers Biennial exhibition. 500 words max. Work Samples Upload 5 images (jpg) and/or video/sound files (mp3, mp4, wav, mov, mpg). Image Credits or Short Descriptions If applicable, write a brief credit line or short description for each image, video, or sound file uploaded. Artist CV/Resume Upload 1 artist CV or resume

17 Application Requirement #1: Artist Statement

18 What is an Artist Statement? Your artist statement is a brief description of your work that provides the reader with information about your sources, ideas, process, and inspiration. 2-3 paragraphs (500 words max) Informs the viewer about the work, but doesn t need to explain the work. Supports the work, but doesn t need to replicate the work Consider updating your artist statement every time you complete a new, singular body of work

19 Questions to start the writing process: What might viewers want to know about your work that they can t get just from looking? Where does your inspiration come from? A particular part of your background, identity, or biography? Something historical, or from pop cultural? Or from nature? What about your process, either creative or constructive, might your viewer find interesting? What might be meaningful about the materials that you work with? Where does this current body of work fit in with your overall development as an artist?

20 More Artist Statement Tips An effective statement reaches out and welcomes people to your art, no matter how little or how much they know about art to begin with; it never excludes. Make "I" statements rather than "you" statements. Talk about what your art does for you, not what it's supposed to do for the viewers. Use active words like explore, analyze, question, test, search, subvert, challenge, devise, discover, balance, connect, experiment, juxtapose, or construct. Still need help getting started/getting out of your head? Schedule a studio visit! Give too little, not too much.

21 Sample Artist Statement: Allyson Strafella I began using a typewriter for its obvious function- to record my thoughts and ideas. Communicating is a crucial yet constant struggle for me. The more I typed, the more the letters and words on the pages began to take on a new function, a new language. My discovery of this new language created with my typewriter and paper was one made up of patterns and grids formed by punctuation marks: commas, colons, apostrophes, and brackets. It was as if the typewriter was experiencing a breakdown, and this breakdown was my breakthrough. I had discovered a new way to communicate. There is an endless source of information that can be created through a limited use of materials: paper and a typewriter. I became, and am still, intrigued by this process. -Allyson Strafella (Taken from The Artist s Guide by Jackie Battenfield)

22 Allyson Strafella truncated form, 2007 typed colons on paper, " " Allyson Strafella airfoil, 2005 typed colons transferred from blue transfer paper, 5 3 4" x 4 3 4

23 Sample Artist Statement #2: SWOON I am a classically trained visual artist and printmaker, and for the last 13 years I have been exploring the relationship between people and their built environment. My first interventions in the urban landscape took the form of wheat-pasting portraits to the walls of cities around the world. More recently, I have been working collaboratively through my non-profit organization, the Heliotrope Foundation. Focusing on community revitalization in Braddock, Pennsylvania, New Orleans, Louisiana, and Haiti, these projects support artists place-based interventions that explore how creativity can positively impact communities in times of crisis and change.

24 A few basic writing tips: Show don t tell. Active voice, not passive voice. Write about yourself and your work, not what the viewer should feel or think. Avoid defensive language. Keep it accessible to an average reader. Avoid technical terms or art jargon. Spelling and Grammar Check! Have a friend proofread for clarity.

25 Application Requirement #2: Submit an exhibition proposal that outlines what you intend to create and exhibit in the Great Rivers Biennial exhibition. 500 words max.

26 Exhibition Proposal: Concept Your exhibition proposal is EXTREMELY important, and should include: Basic description of the project (one sentence elevator speech ) What will the viewer experience be like? How is the project specific to CAM/Great Rivers Biennial? How does it contribute to the global contemporary art conversation? How does this project reflect your signature as an artist? What would the project timeline be? Project Budget (very basic, but reflective of award amount) Describe how the project would spur the creation of new work

27 Exhibition Proposal: Writing Prompts If included in the 2018 Great Rivers Biennial, I would. What are you interested in as an artist? What are you excited about pursuing? Where does this project fit within the context of your career? How does your work or this project relate to the contemporary art world, other artists, your background/interests/environment, etc? Does your project fit the ambition indicated by the $20,000 award? (Not over, not drastically under?) Does your project fit the CAM gallery space? You are encouraged to include a rendering of your proposed project as part of your work samples

28 Exhibition Proposal: Logistics Selected artists will be responsible for all production (supplies, materials, framing, work, shipping, getting work to museum, etc., etc.). CAM installation crew (registrar, art handlers, etc.) will work closely with them to install in space. Walls will already be constructed and ready for install.

29 Uploads: 1 Artist CV or Resume 5 Work Sample Images

30 Your Artist Resume/CV/Bio: Does not have to be long! Is not the basis of your getting this, or any other award. Should provide context for where you are in your art career. Should not be too long (no more than three pages) and should include art-career or other relevant info only

31 Your Artist Resume/CV/Bio: Name/Contact Info Education (completed degrees or programs) Exhibitions Title of Show, Venue, City, State (Dates?) Solo Exhibitions, followed by Group Awards/Grants/Residencies Bibliography Collections Public Commissions, Festivals, Screenings, Performances Other Professional Activities (freelance, teaching, curating, writing, etc.)

32 Uploading Work Samples: Upload 5 images (jpg) or video/sound files (mp3, mp4, wav, mov, mpg). Images should be 300 dpi and 5 inches wide. Label each image with a number and your last and first name. Example: "1_SMITH_JOHN"

33 Curating Your Work Samples: Select works that are no more than five years old, if possible. Depth over Breadth : select works that show your best talents in one area. Clarity of Vision : curate your work samples to create a cohesive identity for yourself as an artist to the panelists.

34 Basic Work Sample Tips: QUALITY of work samples is of the utmost importance! High-resolution image is essential. Borrow a camera or find a photographer if necessary. Place the artwork on a neutral background (white, black, or grey) Even lighting no glares or dark spots Take several images to capture the correct color intensity and black/white contract Fill the frame as completely as possible without cropping edges Remove distracting elements from the frame, unless they are a part of an installation

35 Basic Work Sample Tips: For installations, performances, or interactive works of art: Make sure your work sample image captures the depth of field needed to understand the work. You may need to use more than one work sample image to show different angles, or a detail image. If the work is interactive, you may wish to include an image of viewer participation. For performances, you may wish to include a brief description of the performance, and contextualize the moment we are seeing.

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46 Image Credits or Short Descriptions If applicable, write a brief credit line or short description for each image, video, or sound file uploaded. 1-2 sentence maximum. Remember to write the image number first as it corresponds to the description

47 After the Announcement is Made If you receive an award: Artists will enter into a professional contract with CAM Artists will be assigned to a gallery (A, B, or C) by organizing curator based on their proposal and other projects in the exhibition. Artists must make themselves available for follow-up studio visits with curator, PR, marketing, interviews, images, and related details. Artists might be asked to engage in public programming, education workshops, tours, private events, panel discussions, artist talks, etc. $20,000 award is taxable income! Work with a professional regarding itemizing expenses.

48 GOOD LUCK!

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