Exhibition – Latvia, Daugavpils, July 6 – September 9, 2018
Individual artists, as well as groups of artists, are invited to submit their artworks for the MARTINSONS AWARD International Ceramics Competition. The applicants are not restricted by age or nationality. Each applicant (individual artist or a group of artists) can submit only one artwork. Artists awarded with Gold, Silver or Bronze prizes in both National and International categories during MARTINSONS AWARD Competition in 2016, cannot participate in the Competition in 2018.
The Alberta Craft Council is calling for exhibition proposals for the 2019 line-up of the Alberta Craft Gallery – Edmonton & Calgary. The exhibition spaces are dedicated to showcasing work by emerging, mid-career, and established craft artists. The Exhibition Team is looking for well-developed themes that highlight mastery in craftsmanship, features new work, pushes the boundaries of craft, and/or celebrates the achievements of our members. Exhibitions can be individual or group shows.
Submission Content:
Cover Letter that includes:
– contact information
– detailed description and theme of the exhibition
– number of pieces/artists in or expected to participate in the exhibition
– time of year preferred
Current ACC Membership
Current CV – artist resume
Artist Biography
Images and image list
– high quality images of work to be presented in the exhibition or representatie of the work
– images list must include: title, year created, dimensions, materials and techniques
From their funding page: “We are heartbroken to share that Inspirations Studio is facing imminent closure. For 23 years, the ceramics-based program has supported hundreds of low-income women who have been impacted by poverty, homelessness, addiction, trauma, and mental health issues.
As we look for stable funding and a new partner, we are asking for public donations to keep the program alive. Our target of 60K will sustain the program through 2018, in conjunction with funds we are anticipating from the City of Toronto and those received already from an anonymous donor. Together this support will secure studio rent, bills, materials, and skeleton staff so the current members can sustain their essential income, continue to access a safe space to be creative, and maintain a sense of meaning and purpose. As one member told us, “Inspirations saved my life.”
Although we aim to reach our target and sustain the Studio for one year while we find long-term funds, any amount raised will help extend the program beyond 2017 and support the participants. Any and all donations represent a success and will benefit the women. “
Individual protections, once made of iron, were meant to defend their owner and improve human capacities. They would shape the body to act as a second layer, define one’s identity and belonging, and maybe, repulse the adversary. From head to toe, covered by her all-in-one, how would Joan of Arc feel wearing her “victorious” harness while marching on Paris?
The inhabitants of an armour chose whether they wanted it to be light and adherent or massive and constructing, either allowing a greater rapidity of movement but with less efficiency or defensive but rigid and heavy, constricting the range of action. In each case, the protection reveals its fragility.
From chainmail to bulletproof vests or tribal face tattoos, the defensive shields made a long way since the heavy overalls and took diverse outlines. Kevlar, polyethylene of molar mass, light metal, ceramic plates or ink; materials and forming varied and evolved regarding mobility and clinging functions to such an extent, that they tend to become imperceptible.
Keegan Luttrell extends this investigation field to other forms of protection or self-defense. Her interest focuses exactly on the invisiblearmours, involved in a daily context. The ones we wear on facial features or disguised under gestures and behaviors.
Through her analysis and in the exhibition taking place, they become tangible, as to allow a closer observation, as if we could even try them. Face lines converted into ceramic pieces strengthened by fire and shattering if mishandled. These fine bone structures are here engaged in a ritualized course, their brittles taken by fluids and movements, turning back into sediments, as the objects are activated by their dissolution.
DEADLINE FOR APPLICATIONS – April 1, 2018
