Exhibition dates: Jan 16-19, 2020 Submission Deadline: August 23, 2019 Call for Submissions for Come Up To My Room 2020, the Gladstone’s Annual Alternative Art and Design Event is now open!
CUTMR is an annual 3-day alternative art and design exhibition created and produced by the Gladstone Hotel. It’s one of the only places where art and design intersect, with the historic hotel becoming a platform for site-specific, immersive installations. Visitors explore, discover, and engage in conversation with the artists. Different from their 37 permanent artist-designed hotel rooms, CUTMR presents temporary projects that occupy and alter spaces in dramatic, conceptual or experimental ways.
Artists are selected based on their body of work and not on proposals. This invitation allows artists to challenge themselves and try new things in this unconventional setting. The unique model allows for the evolution of ideas, risk-taking, and an element of surprise. Participants use art and design to converse, connect, collaborate, and construct delight in the unexpected.
The curators are looking for installations created for or adapted to the site and space. 2D and 3D art, craft, and design media/projects are very workable. Projects that incorporate video, sound, or light are appropriate for selected spaces.
Over the years many of the winning entries have been by fibre and textile artists:
Cleo Halfpenny’s “Stay a While.” Cleo is an emerging artist with a sculpture/installation-based practice working primarily with textiles as a medium.
Amanda McCavour’s room 2018. McCavour uses a sewing machine to create thread drawings and installations by sewing into a fabric that dissolves in water. She is interested in the vulnerability of thread, its ability to unravel, and its strength when it is sewn together.
Kathleen Wick’s room 202 focuses on her fascination with wool. Her installation used discarded wool blankets to scrutinize wealth and value in society where the need for environment conservation and the economy are pulling us in different directions.
This is me circa 2010 during a month long residency at Medalta in Medicine Hat. Little did I know that when the director Aaron Nelson called me and asked me to pull together a group of artists for a month that I would not only have a life changing experience, but that a piece of my heart would forever belong to Medalta Artist in Residence Program. I’m sure many of you out there have had similar experiences at different places around the world, colleagues that become friends, friends that become family; and precious time in a studio with other artists that invigorates and renews your creative practice. Medalta and it’s vibrant community have been so good to me. I’ve had the opportunity to return to Medalta on a number of occasions to visit with other artists, to teach and to jury exhibitions.
So it’s with their future sustainability in my heart and mind that I’m posting today about a fundraiser they are currently doing to upgrade their Soda and Salt Kilns. These kilns are over ten years old and have seen better days in their lifetime of producing beautiful pots for international artists. Here’s me back in 2010 firing the soda kiln during my residency there.
And here is the state of the kilns currently…
Medalta needs to raise $12,000 in the next month in order to rebuild these kilns and have them up and running for new residents and workshop attendees. If you have the ability to do so, I encourage you to donate today and help them out. Who knows you might find yourself there as a resident someday! Or did you know you can rent the kilns as well??? (well you can rent the new ones in the future that is!)
EXHIBITION DATES: November 8 – December 21, 2019
Awards Ceremony and Opening Reception: Friday, November 8 from 6 – 8 p.m.
JUROR: Garth Johnson
ABOUT THE JUROR: Writer, curator, and educator Garth Johnson is the Paul Phillips and Sharon Sullivan Curator of Ceramics at the Everson Museum of Art in Syracuse, New York. Johnson is known for his irreverent wit, which can be explored through his weblog, www.extremecraft.com. He has also exhibited his work and published his writing nationally and internationally, including contributions to the books Handmade Nation, Craftivity, Craft Corps, and the Smithsonian American Art Museum’s Nation Building. His book, 1000 Ideas for Creative Reuse, was published by Quarry. He is a self-described craft activist who explores craft’s influence and relevance in the 21st century.
AWARDS:
Special Exhibitions Committee Award: Solo Exhibition at The Center for Contemporary Art
First Prize: $500
Second Prize: $250
Third Prize: $100
DATES & DEADLINES:
Submission Deadline: Sunday, September 15th at 11:59 p.m. MT
Artist Notification: Friday, October 11th (by email)
In Person Delivery: October 29 – November 2nd during office hours
Deadline to Receive Shipped Artwork: November 1st
Exhibit Opening Reception: Friday, November 8 from 6-8 p.m.
Pre-paid Artwork Return and In-Person Pick-Up: January 2 – 10 during office hours
ENTRY FEE:
$35 for up to three entries
$25 for Members of The Center and art educators
Entry fees are non-refundable
ELIGIBILITY:
The exhibition is open to artists age 18 and older
SPECIFICATIONS:
The exhibition will consist of three-dimensional ceramics work. Wall-mounted pieces must be prepared and ready for hanging and no larger than 36″ X 36″. Free-standing pieces may not exceed 32″ X 32″ X 48″ or weigh more than 75 lbs. including box or crate. Work across a variety of display solutions is encouraged including video or film related to clay. Accepted work cannot be substituted and must be available for the duration of the exhibit. Please contact The Center with questions about oversize pieces or other shipping concerns before you apply.
SUBMISSION:
Submit up to three JPEG/JPG digital images. Upload options for image files:
File format: JPEG or JPG only
File dimensions: 1200 pixels or greater on the longest side
File size: 5 MB maximum
Information on how to resize your file can be found here.
VIDEO
File Type: MOV, MP4, WMV, 3GP, AVI, ASF, MPG, M2T, MKV, M2TS.
File Size: Under 100 MB.
Currently, linked media from YouTube, Vimeo, etc. is not accepted.
HOW TO ENTER!
2019 entries should be submitted through CallforEntry.org starting June 1.
You must set up an account to enter.
If you run across a problem while applying or have questions, please contact CallforEntry.org at [email protected].
SHIPPING/DELIVERY OF ARTWORK:
The artist is responsible for the cost of shipping or mailing artwork to and from The Center for Contemporary Art using Fed-X or DHL. A return shipping label and return postage must be included with the artwork. Artwork may also be hand-delivered to and picked up from The Center for Contemporary Art on the appropriate dates during the scheduled times.
INSURANCE AND SALE OF ARTWORK:
All artwork is insured for its declared value from the time it is received through January 10, 2020 while it is on the premises. Artists are responsible for insuring artwork during transit.
The Center for Contemporary Art receives a 30% commission on all exhibition sales.
MEDIA/PUBLIC RELATIONS: The Center for Contemporary Art reserves the right to use digital images of exhibited artwork for media, website, PR and advertising.
Documentary in which Ros Savill, former director and curator at the Wallace Collection, tells the story of some incredible and misunderstood objects – the opulent, intricate, gold-crested and often much-maligned Sevres porcelain of the 18th century.
Ros brings us up close to a personal choice of Sevres masterpieces in the Wallace Collection, viewing them in intricate and intimate detail. She engages us with the beauty and brilliance in the designs, revelling in what is now often viewed as unfashionably pretty or ostentatious. These objects represent the unbelievable skills of 18th-century France, as well as the desires and demands of an autocratic regime that was heading for revolution.
As valuable now as they were when first produced, Sevres’ intricacies and opulence speak of wealth, sophistication and prestige and have always been sought after by collectors eager to associate themselves with Sevres’ power. Often the whims and capricious demands of monumentally rich patrons were the catalysts for these beautiful and incredible artistic innovations.
The film explores the stories of some of history’s most outrageous patrons – Madame de Pompadour, Louis XV, Marie Antoinette and Louis XVI, as well as their foreign counterparts like Catherine the Great, who willingly copied the French court’s capricious ways. Ros tells how the French Revolutionaries actually preserved and adapted the Sevres tradition to their new order, and how the English aristocracy collected these huge dinner services out of nostalgia for the ancient regime. In fact, they are still used by the British Royal Family today.
